"Intervallo present a reissue of H. Ticals, aka Armando Sciascia, Impact: Synthesized Sound And Music, originally released in 1971. From the very first second, Impact: Synthesized Sound And Music is a difficult, icy release, embracing many cornerstones of what would become known as industrial music. These 16 sonic experiments are totally devoted to VCS3 synthesizers, which are the main architects of whirling escapes, white noise, and sonic landscapes in the mood of early Warp releases. Impact: Synthesized Sound And Music was originally released via Armando Sciascias Vedette label in 1971, under the alias H. Tical. Its a really peculiar library music album, filled with incredibly contemporary sounds and atmospheres. Unlike Distortions by Blue Phantom (1971), whose super groovy and almost hard-prog tracks are all credited to H. Tical, this is a totally different sonic planet - and its difficult to figure out what kind of images could be paired with such an extreme experiment, which is a one-of-a-kind effort in Sciascias more traditional career as a composer. Moreover, the musical delirium is enhanced by the usual beauty of the titles, such as "Colluvium", "Metastasis", "Trigonos", "Intercosmic", "Rubidio", or "Laser", mixing Latin and English. This is a wonderful, alienating album made of "static" music, totally estranged from the idea of movement. A true desert island album, or better said, an abandoned planet album. Edition of 400." - Intervallo.

"Recorded in 1969 , early electronic music pioneer Bruce Haack and child educator Ms. Nelson go bravely and deeply into psychedelic music compositions designed to open the minds and hearts of the young. Truly far out electronic music that evokes a space age alternate universe. Bruce and Ms. Nelson are joined by pianist Praxietellis Pandit and their relaxed sounding friend Chris to bring you songs about everything from ancient folk tales to outerspace to what the world sounds like when you listen with your inner self. Real great stuff, not for the faint of heart. Avante garde music by and for the people. Old school tip on cover." - Mississippi.

"Recorded in 1968, a true psychedelic masterpiece for the kids. Ms. Nelson (a child educator) and Bruce Haack (an early electronic music pioneer) designed this record to open the minds and hearts of children to deeper levels of insight and culture. Not condescending in the least and with a childlike sense of wonder, Bruce and Ms. Nelson lay into some heavy songs about everything from Robots to Indian Mysticism to Motorcycle riding fantasies. Its all in here. The music is all generated by Bruces homemade electronic instruments which churn out proto hip hop beats and straight up avante garde moments left and right. The kids in Ms. Nelsons community chime in with their voices here and there and the record ends with a haunting existential twist thatll leave you screamin for more. A great record for children and adults of all ages. Old school tip on cover." - Mississippi.

"The original Electric Lucifer was released back in 1970, and basically invented electronic music as we now know it. Bruce Haack was ahead of the entire electronic music game! Over the years, that album has been hailed as one of the most important in modern music, and is seen as a sacred thing to many, many music nerds. What a lot of people dont know is that Bruce Haack continued to make amazing music well after Electric Lucifer, and a decade later actually recorded a follow up, aptly titled Electric Lucifer Book II. Tragically, this absolute gem was not released upon original completion, and has never been given the proper North American vinyl treatment...UNTIL NOW!" - Telephone Explosion.

"Deemed to be too dark and offensive for release when it was recorded in 1978 and bootlegged ever since, this is the first official release of Haackula. Haacks anger with society is palpable as he hisses and cusses his way over elastic electronic backings. Imagine a very, very bummed-out Kraftwerk scowling as they play childlike melodies and sing under their breath of fear and abandonment. Also included for the first time is Haacks extraordinary 1982 collaboration with Russell Simmons on the track Party Machine and the incredible 32-minute soundscape of Icarus from 1979. All tracks make their first official release here and are lovingly remastered from the original tapes. Includes liner notes, photos and full lyrics." -Omni Recording Company.

"Bruce Haacks The Electric Lucifer is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968 and 1969 (and released in 1970) it is an album both unique in conception and superb in realization. An eminently listenable work where pop-psychedelia and Moog/musique-concrete sounds coalesce around Haacks central metaphysical concept of Powerlove, a force so powerful that it could end war and unify humankind. Acclaimed upon its original release (one of Rolling Stones favorite albums of 1970 among many citations) yet unavailable on LP for over four decades, The Electric Lucifer is reissued here officially for the very first time on LP. Remastered and restored from the lost original master tapes discovered in the Columbia vault. The Electric Lucifer is your gateway to the profound yet playful universe of Bruce Haack, a far-out place where flower-power and inner-space electronics collide. Limited edition of 500 copies in deluxe replica packaging on 180 gram vinyl." - Omni.

"Habeas Corpus formed in Athens, Greece in 1977. Originally a trio of guitar-bass-drums and occasionally, at some live gigs, a quartet with the addition of a keybordist/guitarist. At the end of 1981, all three members participated to the foundation of the more well-known band, SYNDROMO and made an album for Vertigo in 1982. Habeas Corpus music is instrumental (no vocals) and combines heavy progressive rock and jazz/fusion rock with classical and Greek traditional tinges all around. This limited release, collects all their recorded material from 1980-82. A couple of the tracks are from a studio demo while the other 6 tracks are recorded "live". All tracks are unreleased and uncompiled. From the original 2-track master tapes and fully licenced by Stavros Theodorakos. It will include a 20x20cm triptych (6 pages in total) with bio, photos and memorabilia and a big gig poster from their last appearance, early 1982. PVC protective outer-sleeve. 180gr. vinyl as usual. It will be a strictly limited, to 150 hand-numbered copies, edition. " - Anazitisi.

"Co-founder and member of longstanding Lebanese post-rock group, Scrambled Eggs, Charbel Habers work encompasses a wide range of disciplines and styles such as film, video art and theatre, both as a solo artist and as a member of Scrambled Eggs, Malayeen and Johnny Kafta Anti Vegetarian Orchestra. As a solo artist, Haber has collaborated with various visual artists and composed music for a variety of film and theatre performances, both in and outside his native Lebanon. With Of Palm Trees And Decomposition, Haber presents his first solo album since his month long residency at renowned EMS in Stocklom, Sweden. The result is a unique blend of Habers trademark guitar melodies filtered through an infinite array of modules and synths to present another perfect example of non-western experimental music." - Discrepant.

"Charbel Habers Songs Of Love, Songs Of Decay is a mixtape of (sort of) songs, ranging from 1998 to 2016, with various projects, solo or not, including Scrambled Eggs, The Bunny Tylers (Charbels bands), or guest appearances like in Oiseaux-Tempête. The tracks give offer an aperçu of Charbels approach to composition over the years, a sampler of sorts, effortlessly switching from 90s alternative rock to electronic prepared guitar experiments, whilst always keeping his Middle Eastern background in check. 60 minutes to get lost in. RIYL: Lebanese music, Omar Khorshid, 90s rock." - Sucata Tapes.

"(Habibiyya were a ) buncha british rockers from the
end of the 60s (some were in Mighty Baby) ... seems like they flipped out on sufic islam + cut a beautiful
slice of eastern-influenced dronefloat for Island recs right at the
start of the 70s ... well, i picked up the rec for 25p in a charity
shop many moons ago, and its a real head-turner, lost classic, but
not so many seem to know about it ... ANYWAYS, im only posting this
because ive just found out that one of the guys in the band has made
it available again on swish-looking CDR .
I reckon a lot of you out there would really go for this, if you
enjoy NNCK, jewelled antler, sunburned hand, sun city girls, hell
even vibracathedral. Someone shd give this one the full reissue treatment
some day, but until then, its nice that you can get yr hands on it
if you want." - Neil Campbell.
"Habibiyyas sole album stands as one of the earliest and most beautiful pieces of world music ever recorded in Britain. The musicians involved (including three members of UK underground legends Mighty Baby) had been profoundly affected, both musically and spiritually, by visiting Morocco in 1971, and became adherents of the Sufi faith. Upon their return to London they made If Man But Knew, featuring exotic instruments such as koto, shakuhachi and mandola alongside guitar, organ and drums, conjuring a hypnotic, otherworldly ambience in the process." Picked these up a year or two ago but were listing them for the first time.. Very nice full color printed artwork and CDRs, all signed by Ian Whiteman. Includes 3 unreleased tracks from the original recording session. Highly recommended!

"Previously reissued on CD by Sunbeam, now issued on deluxe 2LP format as well; 180 gram pressing. The Habibiyyas sole album stands as one of the earliest and most beautiful pieces of world music ever recorded in Britain. The musicians involved (including three members of UK underground legends Mighty Baby) had been profoundly affected, both musically and spiritually, by visiting Morocco in 1971, and became adherents of the Sufi faith. Upon their return to London they made If Man But Knew, featuring exotic instruments such as koto, shakuhachi and mandola alongside guitar, organ and drums, conjuring a hypnotic, otherworldly ambience in the process. Housed in a deluxe gatefold sleeve, accompanied by detailed liner notes, previously-unseen photographs, five rare bonus tracks and an introduction by the groups leader, Ian Whiteman. This 1972 psych-folk classic is now available in its first official vinyl reissue including five bonus tracks.
Housed in a deluxe gatefold sleeve with band history, rare photographs, and an introduction by the groups leader, Ian Whiteman." - Sunbeam. "Eastern-influenced hypnotic psychedelic music." --The Tapestry of Delights .

"Hackamore Bricks sole 1970 LP on Kama Sutra remains a much-desired artifact of its era, a primordial expression of seminal proto-punk and early Velvets worship. While there are several great tracks on the LP, its long been my opinion that Oh! Those Sweet Bananas was criminally over-looked and should really have been a 45 from the start. One of the great lost songs of the period, its a quick, catchy and instantly addictive burst of NYC garage punk pop at the dawn of the 70s. The flip is a beautiful and memorable slow-burner, and a different take to that on the LP. A slight change of pace for Ugly Pop, but a long-time favorite that anyone with good taste will appreciate. New picture sleeve, one-time-only pressing of 500 copies." -Ugly Pop.

"HAGAR THE WOMB is for many, the missing piece of the UK anarcho punk scene. Formed in 1981, Hagar The Womb was not a typical example of that scene, for they refused to conform to the dress codes and dour seriousness of their peers. What first started as a sextet sporting three female vocalists, soon experienced a healthy bit of turnover. Circulating through at least a dozen band members, Hagar The Womb was often identified by bright colored artwork and outfits, as well as bringing an original and upbeat sound to an otherwise homogenous scene. A week after their inception, they were sharing a bill with The Mob and Zounds. Hagar The Womb would go on to play with the likes of The Apostles, Poison Girls and Rubella Ballet before breaking up in 1985. A Brighter Shade Of Black puts together both of their 12" EPs, Word Of The Womb and Funnery in the Nunnery, as well as a common compilation favorite called "For The Ferrymen." The latter recorded by POISON GIRLS sometimes bassist, PETE FENDER, in the Poison Girls own X-N-Trix Studios. Reissued for the first time and limited to 1,000 copies." -Mississippi.

"The Howling Hex continue to patrol the borders of our shared musical culture, reflecting on the strange things a man might see out there in the wilderness -- and more to the point, the details a man might miss. Their latest release is a 10" single with two long tracks that push beyond previous entries in The Howling Hexs catalog -- believe it! While it is true that The Howling Hex routinely set and achieve this goal on all their albums, on this special 10", the reemergence of Neil Michael Hagerty as a leading entity gives the two epic performances a unique spin. Also special: hand rendered jackets and a print run that some might call limited edition." -Drag City.

"To source the material for Neil Michael Hagerty & The Howling Hexs Hildreth Tapes, Golden Lab approached Matt Valentine (Tower Recordings/MV & EE) as he was both a big Neil fan and had the key to the "Tapers Pit" city. He got back to us right away and told us he was on it and, within about a week, hed mailed us a data CD with a note marked, "Howdy Nick, heres a whole lotta booty. You GOTTA credit Jim Hildreth." There were seven performances on the disc captured from six shows and over eight hours of material. Hildreth, we learned, is a notorious NYC taper whos turned up to practically every weirdo show in town armed with a pair of binaural mics and a digital recording device, and, after Matt put out the appeal, hed replied to say he had these shows recorded from over a 10-year period, most of the shit being from the first half of the 00s with the exception of one show recorded in 2010, and was more than happy to donate them. We took a listen. Sound quality-wise, the stuff varied as mics were placed in different spots at each show so there was no real consistency there, but what did come through were the performances. Long, drawn-out solos with intensely applied wah from 2001/2002... relentless, insanely extended repetitions of All-Night Fox riffs from 2005... cabaret-style medleys with paradoxically slapdash precision from 2010. All incredible and, on top of all that, ready-themed by the fact of its source: these were The Hildreth Tapes. Golden Lab set about the lengthy process of mastering it in a tiny flat in South Manchester in the winter of 2012. The result is this 3LP set, which features typically gorgeous, gatefold artwork by the venerable Lucy Jones. The sound quality has been homogenized to the best of their capability to give smoothness of flow to the sequencing (the label decided not to present the material in chronological order, rather in order of vibe -- this is just what felt right) and the required kick-up-the-arse where mic placement had failed to do so. And they think they have managed to get it sounding pretty sweet. Finally, Jim Hildreth gets some credit for his years of efforts in the name of preservation." - Golden Lab

"Public Works is a collection of 17 satirical essays and short stories by Neil Hagerty. It brings together for the first time all of Hagerys short pieces which appeared in magazines and journals during his travels through the past ten years. Collected and revised, they form a newly realized endeavor which embraces a broad set of concerns: the starkly pallid Travel Diary abets an elegy for the humor magazine CAR-toons, a short story set in the nexus of boxing and right-wing activism appends a conversation with the ghost of Al Jolson. We visit dark, dusty border towns and encounter the world within a dirty mattress. Such a classic literary genres as the western and the detective story are revisited through characters who are the compelling, ironic and humorous people we meet every day, as well as a few whom we pass without notice. Baked beans are also discussed." - Drag City.

"The Howling Hex return with Section 2 in the limited edition developmental series launched in conjunction with Drag City. Superimposed over this network of connections two linear timestreams cross at the midpoint of Section 2. One flows forward and dissolves concrete memory into distant, lazy elegy. The other flows backward as in an anxiety attack, vague sensations of terror become central and vivid and the mechanics of nostalgia dissect the embrace by seducing memory to fixate on a moment before the benighted opposition attained solidity. The Section 2 vinyl-only format physically represents a point of differentiation that may be examined repeatedly while remaining free from the vagaries of human memory." - Drag City. Second volume of this series. Vinyl only edition of 500. Highly Recommended!

"Pissing in the wind, flying the flag in a fogbank, watching pornography featuring the Invisible Man -- and so, whereas, we arent doing that, as I mentioned, no hoarding on our part is invoked and we are grateful to you. It is consistent with this to exploit specific interests in the form of questionnaires or persuasive invitation and to invoke expectation confounded by events both current and persistent. Elements include: the day I handed the singer from the Durango Scorpions a laundry list and he sang it straight from the page in a crippled accent, the audience loved him for it; strict diagram of what the resulting development this is, to be used as a model for all future Howling Hex to be repeated without question; hiding in a tower that was overlooked -- perhaps it didnt exist yet it is erect." - Drag City. One time pressing of 500 copies.

"DISKONO 017 is a 45rpm 12" conceptual LP by Scott Haggart titled "117" . The A-Side Scott Haggarts original edit is "psychotopologically derived from a 0.7 millisecond recorded extract of a DISKONO performance (2000)." Six others (SCOTT HAGGART, EVOL, FELIX KUBIN, LARY SEVEN, CHARLIE MCALISTER, JAN VEN DEN DOBBELSTEEN) created alternate versions (resulting in seven total variations). Strict adherence was required to a rule of the versions being 1:17 seconds in duration, so as to absurdly explore the potentials of this 0.7 millisecond sound. Keywords : analog, feedback, fridge, beauty, horror sound pressure levels, implode.
note : The performance is inspired by the presence of Diskono in Eindhoven, 2003 where they held a transatlantic telephone interview with PHIL MILSTIEN at the opening of the exhibition I AM A CAMERA (a JaDa-Jan Van Den Dobbelsteen/Danielle Lemaire concept-curators, also behind the telephone piece).
Founded in the spring of 1998 and described as a "a Scottish multi media cabal masquerading as a record label" , DISKONO was initially based in Central Scotland but befitting its constitution as a complex carbohydrate, the constituent pieces of its chemical structure are now strewn all over the globe ; New York, London, Moscow, Brussels etc. The known and affiliated elements of Diskono were/are Klaus Oldanburg, Ruth Random, Findo Gask, Dr. Barnes Advocaat, Gunter Saxenhammer, Ttocshagg Forfib, Joel Ongthorne, Kosten Koper ; although these may be pseudonyms for the same person or persons. Together or alone, they / he / she operated a record label releasing sound art & "avant-garde flicks of the wrist" as well as curating savory pretentiously artistic projects such as the exhibition Revisionland by Alejandra and Aeron (which won an Award of Distinction in Digital Music at Prix Ars Electronia 2002) and physical remixseries of 7" records with Aerospace Soundwise and Prix Ars Electronica winner Janek Schaefer. Diskono also released music by blue-chip figures such as Felix Kubin, Alejandra and Aeron, Kid 606, Pimmon, Nomex, Ashtray Navigations, JaDa, People Like Us, Francisco Lopez, Boards Of Canada, Goodiepal, V/vm, Hrvatski, Aavikko." - Diskono.

"Behold the gargantuan sound of HaiKai No Ku. For fans of Bong, Les Rallizes Dénudés, Mainliner, etc. Following the outstanding debut Sick on My Journey on Burning World Records, the three-piece stepped into Blank Studios to record their follow-up, a 40-minute pilgrimage through five mind-altering tracks. By now, avid fans of doom and psychedelia will be familiar with Mike Vests patented hyper-fuzz guitar shrieks and damaged feedback. In HaiKai No Ku he is joined by Jerome Smith (Female Borstal, Charles Dexter Ward) on bass and Sam Booth (Foot Hair, Bin, Obey) on drums to deliver a burgeoning psychedelic doom trip of the highest grade. Pressed on 180 gram wax with superb artwork and design by Pete Burn, printed on a warm grey recycled card sleeve with metallic ink. Includes a download code." - Box.

"The controversial work which stepped into the forbidden territory of editing the performance of Haino Keiji. Yoshida breaks up their studio session boldly and restructures it from the unacceptable tune reproduced by extreme editing to the pop song thing that it is surprised. From the irregular hard core to heavy tune. From the modern music short piece, to the lyricism acoustic number. This album shows new possibility with union/condensing the music of Haino & Yoshida. This time they made 2 different (but similar) albums." 16 tracks, 50 min.-Magaibutsu

"Black Truffle present the first vinyl issue of Keiji Hainos Milky Way. Originally released as a limited CD in Japan by the short lived Mom N Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Hainos first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashleys Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Hainos name in years to come, building up to a point of almost unbearable intensity in its final minutes as Hainos voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Hainos singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Hainos poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen OMalley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016." - Black Truffle.

"Solo hurdy-gurdy improvisations. Haino has long been a fan of medieval music, which is one of the few places where the hurdy-gurdy makes an appearance. Its a pity that the instrument isnt more used since it has great possibilities for higher-minded multiple drones that can vary in sound from a high-pitched violin-like scraping and squealing to deep quaking resonances. The beauty of the instrument is that you can combine the various drones to build up a multi-layered effect...Hes been experimenting with them over the past year or so in various permutations -- solo, with Fushitsusha, with Vajra and in duos with other musicians. The sounds produced have ranged from gentle accompaniment to a dense brain-altering fug that blows everyone else off stage...Five tracks of beautiful late-night drones, suffused with instantly recognizable Haino atmosphere of mystery." - Alan Cummings.

"This is another side of Haino. Full of dark and beautiful atmosphere." A live solo performance from 91, vocals and guitar. Stunning folked-out passages elevate into new parameters of density. Truly peaked, alien music." - FE.

"Haino Keiji, Japanese wizard but true star, who already made two recordings for DSA, A challenge to Fate (solo) and The Caution Appears (Fushitsusha) is back with 2 (two) new studio albums (not a double CD). Entitled Black Blues , both albums feature what Haino Keiji calls sad and secret songs (AihIyo project). Black Blues (DSA 54087) features 6 long songs which Haino Keiji plays and sings in a quiet and acoustic way. .(soft acoustic version). Black Blues (DSA 54088) features the same 6 songs which Haino Keiji plays and sings in a violent and noisy way ! (violent electric version). To respect Hainos own wish, there is no Name and Title on the front and back cover! On the quiet acoustic version, Haino is looking at the left. On the violent electric version, Haino is looking at the right." - DSA.

"Haino Keiji, Japanese wizard but true star, who already made two recordings for DSA, A challenge to Fate (solo) and The Caution Appears (Fushitsusha) is back with 2 (two) new studio albums (not a double CD). Entitled Black Blues , both albums feature what Haino Keiji calls sad and secret songs (AihIyo project). Black Blues (DSA 54087) features 6 long songs which Haino Keiji plays and sings in a quiet and acoustic way. .(soft acoustic version). Black Blues (DSA 54088) features the same 6 songs which Haino Keiji plays and sings in a violent and noisy way ! (violent electric version). To respect Hainos own wish, there is no Name and Title on the front and back cover! On the quiet acoustic version, Haino is looking at the left. On the violent electric version, Haino is looking at the right." - DSA.

"Rhythm, duration and silence lie at the foundation of all of KEIJI HAINOs music. After a clutch of documents of his hair-raising solo performances for both acoustic and electric percussion, this latest album presents Hainos first recorded outing behind a regular drumkit. Haino has long desired to release a solo drum album, and he has been playing a regular kit occasionally live for several decades now. Global Ancient Atmosphere (the alternative Japanese title means These Signs, A Sealed Beginning) contains nine tracks that showcase an austere yet thrilling investigation of attack and decay on nothing less than the molecular level. As inimitable, and as life-affirming as ever." - PSF.

"The return of the "21st Century Hard-y-Guide-y Man"! "With its crank handle mechanism and drone strings out-numbering melody strings, the hurdy-gurdy is the Ur-industrial instrument par excellence, a connection Keiji Haino makes abundantly clear on the opening track of Koitsukara Usetaitameno Hakarigoto, the third album he has made under the tortuously punning banner of the 21st Century Hard-y Guide-y Man. The terrifying density and textures of his bone-shearing noise immediately bring to mind the arresting closing sequence of Halber Mensch, Japanese director Sogo Ishiis document of Berlin group Einstuerzende Neubautens mid-1980s visit to Japan, when he filmed them in all their destructive glory at a busy intersection bringing the city to a standstill with their armoury of scraped metal and heavy machinery. The major difference is Haino achieves his pandemonium totally alone on an electrically amplified medieval instrument, and the chaos he invokes is of a wholly other kind to that of the displaced Berliners. Rather than creating chaos, he accepts it, even as he taps it for the tremendous energies needed to generate the overarching schemes that shape and contain his monumental works. Haino is not the only person using the hurdy-gurdy as something more than folksy color. Theres Stevie Wishart working at the interface of contemporary composition and improvisation; and hurdy-gurdy player Cliff Stapleton featured strongly in the late output of Coil (the UK outfit of John Balance and Peter Christopherson, not to be confused with the Japanese unit of the same name with whom Haino has performed blues sets live). And though the hurdy-gurdy is but one of the hundreds of instruments he has gathered during his frequent working trips around the world, next to guitar, voice, percussion and electronics, its the one on which Haino continues to evolve a distinctive body of work that is at once of a piece with and different from the main thrust of his music. Not that any one style holds true, mind, in a discography that is approaching 200 entries. As with his other instruments, Haino has developed methods of playing the hurdy-gurdy that both exploit and defy its particular character. Asked what compelled him to acquire one on a trip to France in the mid-1990s, he replied by mimicking the turning of a handle, saying it was the only instrument he knew of that you played that way, as opposed to striking, blowing, bowing or plucking it. His long-held interest in medieval European troubadour music might well have been another contributing factor. However, the hurdy-gurdy is more than the purely mechanical cranked instrument such as the barrel organ which it is sometimes confused with. The handle turns a rosined wooden wheel that bows a melody string, whose pitches are determined by pressing the tangents, or keys, with the other hand. The instrument usually contains two more sympathetic drone strings. How the player jerks or cranks the handle creates the fluttering beats and rhythms characteristic to its traditional use as a folk instrument at carnival or festival dances. Knowing as much is only so helpful to understanding the way Haino plays it. He hadnt had the instrument long when he released his first hurdy-gurdy album, Twenty-first Century Hard-y- Guide-y Man, on PSF in 1995. It was followed in 1998 by Even Now, Still I Think, released by the Japanese major label Tokuma as part of an extraordinary deal that saw the release of eight Haino/Fushitsusha projects in two stages (and if you think signing to a major in any way compromised the artist, you only have to check the number of CD length tracks of unrelieved intensity produced during the deal). First impressions from both is that Hainos instrument of choice is immaterial, that Haino plays Haino regardless, and on these two occasions the hurdy-gurdy just happened to be the tool selected to do so. To be sure, they both set out an extreme position from which they rarely retreat, with Haino sounding like hes pushing the instrument to the very limits of endurance. This is especially the case on the barely wavering 72-minute assault of the Tokuma disc. But as with much of Hainos music, it rewards the listeners perseverance through its most extenuated passages, which often come right at the front of his work, with moments of otherworldly, overwhelming beauty amid the swarming overtone activity generated at this volume. Before returning to his 21st Century Hard-y Guide-y Man persona on Koitsukara Usetaitameno Hakarigoto here, Haino dedicated a hurdy-gurdy disc apiece to the two double sets, Abandon all words at a stroke, so that prayer can come spilling out (released in 2001 by the Canadian label Alien8) and Reveald to none as yet -- an expedience to utterly vanish consciousness while still alive (recorded live at Tokyo Super Deluxe in 2005 and jointly released in December that year by the U.S. labels Archive/Important). Through them, all its possible to discern id an increasing awareness and appreciation of the hurdy-gurdys character. Its very much evident in this discs opening track, alluded to earlier, in the way the turning crank handle sinks its drone deeper to the core, even as it sends up the baleful clouds of overtone dust that hover above the churning chaos. Tracks two and three make play with the bowing mechanism of the hurdy-gurdy wheel, its sorely tested violin tone transformed into an electric buzzsaw over rasping tones that simultaneously betray and exploit the hurdy-gurdys fundamentally primitive construct. The third track, incidentally, is the albums magnificent centerpiece, evolving from a manic hoedown into a frenzied dance warding off the onset of melancholia represented by a buzzing secondary drone. Elsewhere the sounds Haino draws from the instrument range from delicate music box prettiness to something altogether darker, conjuring an image of a creaking ghost ship whose fate it was to be sealed at the point of breaking up in a storm for all eternity." -Biba Kopf

(Translation: First Lets Remove the Color). "Gorgeous new bag of home-recorded mystery from Haino. Apparently recorded alone, late at night and at minimal volume, these latest recordings tremble with the same deep-welled emotional sensitivity and sense of veiled threat that animated classics like Watashi Dake?, Affection and Era of Sad Wings. With the trademark roar of his guitar held in check by necessity, Haino instead builds up a base of gently fractured looped riffs, over which he unfurls snaking, jagged ribbons of blue notes, layers of choral chant and whispered warnings. The atmosphere is replete with suggestions of medieval music, delta blues, and jazz - but glimpsed through a constantly shifting, dark and alien fog. The effect is entirely beautiful, managing to be impossibly touching, deeply meditative, and truly scary all at once. This is one that will suck the air out of the corners of your room late at night." -- Alan Cummings.

"Solo project from Haino, with his voice/ guitar/ percussion combining to make up one of the most alien, "mysterious energy" listening experiences imaginable -- a careening excursion into the ecstasy-sounds of train wreckage and higher consciousness. Evidently this is the result of a study of Chinese breathing methods, 12th century troubadour music and Blue Cheer." - FE.

Keiji Haino (digital theremin, air synth, air FX, etc). Another step into previously unexplored territory for Haino - his first ever all-electronic album. Uchu ni karami tsuiteiru waga itami (the title means roughly Tangled up in the universe, my pain) sees Haino using a bewildering range of electronic instruments. However, these are not the vintage synthesizers and analogue modules so beloved of some other Japanese electronic units. Rather Haino has chosen instruments whose user interface is close to magical: theremin-like devices such as the air-synth and air-FX, both of which are controlled by hand movements in three dimensions. Recent live shows have seen him hovering and jerking wildly over these devices, like some demented conjuror trying to levitate a table. The results are as purely Haino as everything else he lays his hands to. Sub-atomic particles and dark matter collide endlessly in the black and coiling chaos space of some just-appeared proto-galaxy." - Alan Cummings. Highly recommended!!

"Black Editions present the first vinyl reissue of Keiji Hainos stunning debut album Watashi Dake?, originally released in 1981. This first ever edition released outside of Japan features the artists originally intended metallic gold and silver jacket artwork. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over. Watashi Dake? presents a haunting vision -- stark vocals, whispered and screamed, punctuate dark silences. Intricate and sharp guitar figures interweave, repeat, and stretch, trance-like, emerging from dark recesses. Written and composed on the spot -- Hainos vision is one of deep spiritual depths that distantly evokes 1920s blues and medieval music -- yet is unlike anything ever committed to record before or since. Produced in close cooperation with Keiji Haino and legendary photographer Gin Satoh. Coupled with starkly minimal packaging, featuring the now iconic cover photographs by Gin Satoh, the album is a startling and fully realized artistic statement. Housed in custom printed deluxe Stoughton tip-on jackets, including black on black inserts, extras, and hand-colored finishes; Remastered by Elysian Masters and cut by Bernie Grundman Mastering; Pressed to high quality vinyl at RTI; Includes download code." - Black Editions.

"Much needed reissue of the first solo Haino, a self-released album from 1980. This is an incredible record, guitar and voice and the extreme personal depth that every Haino release exudes. This CD adds an unbelievably good 28 minute previously unreleased track that is possibly the single greatest guitar overload blow-out of all time. An absolute must." - FE.

"Following Keiji Hainos recent experiments with acoustic guitar, solo Theremin and electronics, and percussion, this is his first guitar and vocal album in a couple of years. Emotionally devastating, gorgeously intense free-floating atmospherics that hark back to the folk-ed out genius of Affection, with a caustic blending of the layered, late-night guitar extrapolations of First Lets Remove the Colour. As masterfully singular as ever." -Alan Cummings

"Fascinating and incendiary string-meshing duel between two contemporary masters of musical metaphysics. Michihiro Sato is a master of the tsugaru-jamisen, a traditional plucked and strummed stringed instrument. But forget anything you may have heard about the delicate restraint of Japanese traditional music. Sato plays in the rough, ultra-speedy, explosively percussive style associated with the bleak, rural and snowbound far north of Japan. Originally associated with blind minstrels, the instrument underwent a huge revival in the sixties and seventies, becoming a counter-cultural symbol of brutal hardship, rural authenticity, and indigenous creativity. In the hands of a virtuoso like Sato (a two-time winner of the national championship), the shamisen is an instrument that can generate emotional involvement and pulses of sheer, untrammelled excitement. Sato is also unique in his field for his willingness to experiment and play with other improvisers -- previous collaborators have included John Zorn, Fred Frith, Bill Frisell, Butch Morris, Christian Marclay, Sean Meehan and Kan Mikami. Satos first studio meeting with Keiji Haino sees a rare melding of open minds and taut strings. Common languages are invented, experimented with and discarded at will. Haino revisits the evocative nylon-strung guitar style he first explored on Hikair yami uchitokeaish kono hibiki (PSFD-8017), laying down fields and forests of string texture, while Sato burns blazing trails of narrow-beam intensity straight through the middle of your skull." -- Alan Cummings.

"The remarkable series of releases from the trio of Keiji Haino, Jim ORourke, and Oren Ambarchi continues with I wonder if you noticed "Im sorry" Is such a lovely sound It keeps things from getting worse, which presents the entirety of an 80-minute set performed at Tokyos SuperDeluxe in March 2014. While the trios 2012 performance was divided into two releases (BT 011LP (2014) and BT 012LP (2015)), the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Hainos 1995 classic Tenshi No Gijinka, the first side is dominated by Hainos impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. The end of the second side presents a special treat: Hainos first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. ORourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. ORourkes bass, which takes center-stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the sets third side, he gestures as much toward Ronald Shannon Jacksons stuttering marching band funk as toward any classic rock moves. When the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trios previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. Gatefold sleeve with gorgeous photographs by Jim ORourke, designed by Stephen OMalley. Cut by Rashad Becker at Dubplates & Mastering, Berlin." - Black Truffle.

"Limited gatefold double LP version with printed innersleeves. The yearly summit of Keiji Haino, Jim ORourke and Oren Ambarchi continues with Imikuzushi, which finds the group extending the power-trio strategies of 2011s highly-praised In A Flash Everything Comes Together As One There Is No Need For A Subject (BT 005LP) and bringing to them a newly-sustained intensity. For this performance, Haino limits himself to electric guitar and vocals, forming complex networks of slashing rhythm work, noise squall and chromatic shredding, moving at times to near-silent passages of howled vocals and isolated, hanging guitar strums. The tendency towards driving free-rock which surfaced on moments of the trios last release is cemented here, with ORourkes fuzzed-out, non-linear bass riffing moving the music into almost garage-rock areas, combining with Ambarchis drums to form a bedrock of hypnotic, metronomic pounding which transforms itself effortlessly into passages of flowing free-time. Like all of Hainos best work, the trio transcends any rock genre exercise to enter a non-idiomatic zone of ritual intensity, creating a music formed purely out of instrumental and group-mind possibility. Presented as four unedited excerpts salvaged from an epic show that lasted well over three hours, the sometimes raw nature of the recording only adds to its directness and harshly emotive quality." -Francis Plagne, Melbourne, November, 2011. "Design by Stephen OMalley (Sunn O)))) with high quality live shots by Ujin Matsuo and stunning images by Tokyo-based photographer and sound artist Shunichiro Okada." - Black Truffle.

"...There Is No Need For A Subject Recorded one year after the international trio of Keiji Haino, Jim ORourke and Oren Ambarchis first release (Tima Formosa [BT 004CD]), In A Flash Everything Comes Together As One There Is No Need For A Subject presents the entirety of a live performance that took place at SuperDeluxe, Tokyo on January 24th 2010. For their second performance together, the trio opted for an entirely different instrumental configuration. Here they form a classic power trio: Ambarchi on drums, ORourke on bass and Haino on guitar, vocals, electronics and, in one amazing passage, lap steel. While the instrumentation has changed, the mysterious atmosphere of their first collaboration remains: far from a rock genre exercise, this performance is steeped in the dark ritualistic mood that characterizes all of Hainos best work. Haino is in truly phenomenal form herein, foregoing the single-instrument explorations of much of his recent solo work and his more peripheral role on the trios first release for a virtuosic and wide-ranging performance that takes in piercing leads, delicate strumming, jarring lap-steel interjections and his inimitable vocal caresses and howls. ORourkes bass sometimes merges with Hainos guitar to form crumbling walls of noise; at other times his dark ostinatos and runs add melodic weight. Ambarchis drumming moves from delicate, propulsive cymbal work to endless thundering streams of free-pulse pounding. The title of the release is appropriate: from the spacious and unpredictable slow-mo interactions of the first piece (reminiscent of some of the greatest Fushitsusha moments) to the wild free-riffing that concludes the performance, the trio seems uncannily attuned to one-anothers movements, and everything truly "comes together as one." Released as a limited edition double LP in a lavish gatefold with printed inner sleeves, designed by Stephen OMalley with high quality live shots by Ujin Matsuo and a stunning cover-image by noise-guitar blaster and internationally renowned visual artist Marco Fusinato. Vinyl cut made by Rashad Becker at Dubplates & Mastering." -Black Truffle

Limited re-press. "Following on from 2012s acclaimed Imikizushi (BT 007CD/LP), Now While Its Still Warm Let Us Pour in All the Mystery is the fourth release from the established power trio of Keiji Haino, Jim ORourke, and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trios two previous double LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trios interactions, from holy minimalism to cave-man rock. The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Hainos angelic vocals. This 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Hainos great folk-drone project, Nijumu. When Haino turns to the flute on the LPs second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, ORourke and Ambarchi transform into the delicate and probing rhythm section of a classic 70s fusion side. When the trio returns to the crushing free-rock of their last two records, ORourkes heavily effected bass rolling alongside Ambarchis tumbling rhythms as Hainos guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- ORourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitsusha double live LP. Perhaps more accessible than the trios previous recordings because of its range and concision, Now While Its Still Warm... exudes the dark, alien quality of Hainos greatest recordings and testifies to the strength of the musical bond that has developed between these three players." -Francis Plagne, Jan 2013.

""Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim ORourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyos legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums. Presenting the entire first set of the trios March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen is their fifth release and blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Hainos most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between ORourkes 12-string acoustic guitar and Hainos kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the drivers seat, here ORourke takes center stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Hainos greatest recordings, such as the legendary Live in the First Year of the Heisei volumes recorded with Kan Mikami. After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambarchis cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherrys liberated combination of free-jazz improvisation and non-Western musics. The trios move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Hainos greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of those things said to be as of yet unseen. --Francis Plagne; Design by Stephen OMalley with high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug." - Black Truffle.

"Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim ORourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyos legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums. Presenting the entire first set of the trios March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen is their fifth release and blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Hainos most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between ORourkes 12-string acoustic guitar and Hainos kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the drivers seat, here ORourke takes center stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Hainos greatest recordings, such as the legendary Live in the First Year of the Heisei volumes recorded with Kan Mikami. After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambarchis cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherrys liberated combination of free-jazz improvisation and non-Western musics. The trios move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Hainos greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of those things said to be as of yet unseen. --Francis Plagne; Design by Stephen OMalley with high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug." - Black Truffle.

"At this point, it can justifiably be said that Keiji Haino, Jim ORourke and Oren Ambarchi have become one of the leading groups in experimental music. This, their sixth release, presents the entire second set of the trios March 2013 concert at SuperDeluxe (the first set is available on Black Truffle as Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen). While the first set of the evening saw the trio branching out into new instrumental configurations, here they return to their signature line-up of guitar, bass and drums. The LP begins abruptly, with one of the finest performances by the trio captured on record thus far already in full swing. Throughout the course of this 12-minute piece, ORourke and Ambarchi lay down a thudding, meterless pulse, the impossible midway point of Milford Graves and motorik Krautrock, over which Haino unfurls a number of distinct strategies developed in his work since the 1980s: formless blurs of reverb-drenched guitar noise, looped pointillist fragments and wandering, dissonant lines obscured in clouds of distortion. Continuing Hainos habit of naming albums with phrases that seem to obliquely comment on the music they contain, it could definitely be said that this is music made by three people determined to completely exhaust every bit of this body theyve been given. Showing the trio at new heights, this track carries on in the spirit of some of Hainos greatest work: music made with the ingredients of rock that somehow manages to sidestep all of its forms and traditions while retaining and amplifying its fundamental power. If this track alone lays to rest concerns about whether the trio has exhausted the guitar/bass/drums format, the remainder of the record serves as a demonstration of the multitude of possibilities still available for their continued exploration. The three are now so in-tune with one another that almost anything can be integrated into their improvisations: in the slow-burning second piece, ORourkes heavily effected bass wanders from anti-music thuds to an almost funky passage with Ambarchi sounding not unlike Buddy Miles circa Hendrixs Band of Gypsys -- it bespeaks the hours of listening to fusion and classic rock that continue to form an important part of ORourke and Ambarchis musical personalities. The final piece is a continuous side-long performance that moves through a number of discrete episodes, from vocal and flute solos by Haino delicately accompanied by ORourkes sparse bass and Ambarchis sizzling cymbals, to a final stumbling dirge over which Haino unleashes a stunning torrent of in-the-red guitar skree." --Francis Plagne.

"Japanese legend, Keiji Haino, meets two of Belgiums most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians. One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim ORourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show. Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics." - Sub Rosa.

“Japanese legend, Keiji Haino, meets two of Belgiums most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians. One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim ORourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show. Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics.” - Sub Rosa.

Live At Missions, December 19th 2008. "Second release by a new super-group featuring Keiji Haino, Makoto Kawabata (Acid Mothers Temple), and Tatsuya Yoshida (Ruins). Recorded live in Tokyo in December 2008. An hours worth of sharply photographed alternately dense, brutal, coruscating and beautiful interplay from three of the hardest hitters in the Japanese underground, with the interplay between Hainos scalding, molten darkness and Kawabatas crunch and ripple particularly invigorating. For those confused by the title, the trios previous release on Magaibutsu was entitled Ichi to ichi ga kasanatte shimaumade (Until one and one come to overlap). This one is Ichi to ichi to ichi ga kasanatte shimaumade (Until one and one and one come to overlap). Just so you know. Fifty-nine minutes. Region-free NTSC DVD." -- Alan Cummings

"1. That which will rise from death here tonight will go hand in hand with a glittering echo burdened with the sin of joy (10:15) 2. By mischance that soul I devoured was a transparent, vertical blues (10:03) 3. Give me back that color you stole from my guts (12:44) 4. That place into which you fell was lined with a cushion of pain and is no proof of your continuing existence (5:55) 5. Pulverized Purple (30:20.) "Two living legends of extreme Japanese music sharing the stage for the first time outside their country."-Victo

Artist: HAINO/MIKAMI/YOSHIZAWA
Title: Live In The First Year of Heisei Vol I
Format: CD
Label: PSF
Country: Japan
Price: $21.00

"Live improv folk-noise, between Keiji Haino (guitar), Kan Mikami (guitar, vocal) and Moto Yoshizawa (bs). These 2 companion volumes were (as LPs) amongst the first batch of releases on the fledgling PSF label in the late 80s. Now available on CD as well. Accurately described as "twisted folksongs, harsh voice and noise guitar passage. Very strange atmosphere."" - FE.

SOLD OUT

Artist: HAINO/MIKAMI/YOSHIZAWA
Title: Live In The First Year of Heisei Vol II
Format: CD
Label: PSF
Country: Japan
Price: $21.00

"Live improv folk-noise, between Keiji Haino (guitar), Kan Mikami (guitar, vocal) and Moto Yoshizawa (bs). These 2 companion volumes were (as LPs) amongst the first batch of releases on the fledgling PSF label in the late 80s. Now available on CD as well. Accurately described as "twisted folksongs, harsh voice and noise guitar passage. Very strange atmosphere."" - FE.

"A trio improvisation between Haino (guitar), Barre Phillips (bass), and Sabu Toyozumi (percussion), recorded in 1991. Four tracks of sparse, very free-form improv, more in the FMP or Incus mode." - FE.

"Gonçalo F Cardoso and Alex Jones return to Discrepant under the new Sucata Tapes banner. Joined by Kenny "PL" Hosepipe on violin/effects -- bringing the do-si-do down your ramp. High puking their way through the desolate western sky, cackling all night long on the little house in prairies backyard -- there were no stars on this perimeter, everyone was happy." - Sucata.

"Odd colored carpet of bizarre 3D fields dominate the bright and lurid psychedelic forests youll have to run thru to grab a mug a brew at the end of the trip! Hop on the back of a giant pink elephant and let go, eventually follow his tiny dick-like tail if u are too small to climb up this pink turt in space! But do give it a try and check out whats left? Thats right: nothing! Just a puddle of restless throbbing poop in different colours. The elephant turns out to be a puddle as well and the sounds youre hearing are all on the most psychedelic Hair Police LP so far! This is definitely way different then any of their other recordings, way more high bliss, blown out delayed voice and hardly any harshness. Originally recorded as a Hair Police radio special for Radio Centraal in Antwerp! Thick black and neon blue eye destructive cover design and a psychic laser etch on the B-side of this 180 grams wax!" -Ultra Eczema.

"The fusion of metal, noise rock, free jazz, industrial, and harsh electronics that makes up The Certainty of Swarms is the rare kind of heterogeneous concoction that is carefully matured, but never lost in pedestrian calculation. A blistering onslaught of metallic-fused noise-murk, Swarms is considered by the band to be one of their most complete statements to date, an aptly blindsiding and developed work drawing from all quarters of their craft. Lp Version of this classic is finally here! limited to 500 copies." -No Fun

"The latest from Kentucky overpower trio HAIR POLICE. Four tracks of all-consuming sensory attack that can run from absolute crushing destruction to subtle beauty at the drop of an axe. For fans of Black Dice, Wolf Eyes, Animal Collective, Lightening Bolt, etc." - Troubleman Unlimited.

"Whats inside the putrid, rotting, decrepid bandages
ruined by the slow feral decay of time... its in your
ears, that noise that creeps up in one small,
rat-like, continous tonality of frozen windshields
cracking from the chill of mortality that pulsates
louder and louder and you caress the bandaged corpse
and the dust of the long-deadened flesh shuffles from
the caked, pale red cloth and the pulses turn to howls
which are slashed quiet by the bludgeoning sterility
of your mundane existence. Take this with you under
the dirt. This is the lp version of the cd released on
Hanson Records. Limited to 475 copies with insert." - Weird Forest.

" Yeah
man...that Lex/Ypsi killer crew, Midwest locals. Them mugs came up for
the killer Lansing Noise fest this winter and tried a new Rad style,
apartment electronic lurk, late night style, no drums. They stayed up
all night and jammed, sounded completely weird and ace. I joined em
on some sessions with downtown reeds and flute. This release contains
completely grim moments from those sessions and the live gig that
night. A new horrible dawn of sound from the Police. Look out when
they bust this drumm-less style live....will be flipping it like a
dolphin trapped in pudding and barbwire. This is downer-sound- dolp
big time. Could have been recorded 78 at the Air Gallery. Stoked. Same
deal, Edition of 200, color vinyl/art, and speed homey." - American Tapes.

"Working tirelessly at their craft since 2001, Hair Police are survivors of the rapidly-dissolving U.S. noise scene. Made up of Mike Connelly (aka Failing Lights), Robert Beatty (aka Three Legged Race) and Trevor Tremaine -- the three Midwesterners have amassed quite a catalog between them, but somehow always hit hardest when they fuse their talents and work together. Mercurial Rites is the trios first proper full-length since 2008s Certainty of Swarms, and in typically obstinate form doesnt pander to the noise scenes mass exodus towards the dancefloor. Instead, the record is as dirt-sodden and gruesome as the band has ever sounded, and marks an evolution in industrial noise without straying far from their original intentions. Theyve always been a consistent band, but Mercurial Rites does a pronounced job in distilling the raw energy of their defining early LP Obedience Cuts and fusing it with the disturbing soundscapes of later records Drawn Dread and Prescribed Burning. Tape-saturated bells and gongs push up awkwardly against pounding, funereal percussion and the kind of disembodied screams we last heard on 80s-era Whitehouse sides, and while the result might terrify some, it re-affirms what made the noise scene so alluring in the first place. Its an unsettling, punishing sound that revels in its own abstraction, yet every clank is meticulously placed, every screech of feedback so pointed that at times you forget the layers of distortion and fog altogether. Were simply left with sparse vignettes of darkness, and in the empty silence in-between the blasts of synthesizer or white noise, theres more horror than you could possibly imagine. Cut at Dubplates & Mastering, Berlin." -Type.

"Hair Police "Our Minds Problems" Vol. 2--A full live show from 2006. The show has tunes from every record, including a version of "Vocalist Dan Marino" from the "Blow Out Your Blood" album, with original member Matt Minter on vocals. Also in the set are unreleased tunes that will be on the boys upcoming full length album on No Fun Productions. 9 songs, 1 track, total fucking madness. Note: this is from the show that is on the dvd that was included in the special editon of "Obedience Cuts" only available on the 06 UK tour." ⿿ Gods of Tundra

"A limited edition teaser single from the upcoming full-length, due in the spring. Contains two exclusive songs that wont be on the full-length. HAIR POLICEs music has been called "soundtrack to a nightmare" and "the sound of an elongated car crash." Its progressed over the years, taking on hardcore punk aggression and black metal ambience. Vocalist MIKE CONNELLY also plays in WOLF EYES." - Troubleman Unlimited.

"First Full length release from hair police since 2005, and their most masterful yet, combining signature piercing vocals with walls of guitars, precise heavy electronics and thundering drums. The fusion of metal, noise rock, free jazz, industrial, and harsh electronics that makes up The Certainty of Swarms is the rare kind of heterogeneous concoction that is carefully matured, but never lost in pedestrian calculation. A blistering onslaught of metallic-fused noise-murk, Swarms is considered by the band to be one of their most complete statements to date, an aptly blindsiding and developed work drawing from all quarters of their craft." - No Fun

"Hair Stylistics (a.k.a. Violent Onsen Geisha, Masaya NAKAHARA) Profile:
Born in 1970 at Tokyo, Nakahara started making music with MTR and sampler around 88, He released his first split LP from the U.S. independent label RRRecords as Violent Onsen Geisha in 90. He released unique records such as "OTIS" and "QUE SERA SERA (THINGS GO FROM BAD TO WORSE)" in mid 90s.
Nakahara changed his artist name from "Violent Onsen Geisha" to "Hair Stylistics" in 97. The long-awaited latest album "custom cook confused death" was released in 04.
Along with musical activities, he is known as a film critic and a book "Lost Memories of Cinema" cowritten with a novelist Kazushige ABE is just out. He also started writing novels in 94 with "Mari and Fifis Massacre Song Book?. "Bouquets of Flowers Everywhere" got Mishima Yukio Prize in 01. He was nominated for the Akutagawa Award in 06. He is attracting much attention as a novelist recently."
"Hair Stylistics (a.k.a. Violent Onsen Geisha, Masaya NAKAHARA) long-awaited new album!
Including 2 CDs with a poster by Masaya NAKAHARA, limited only 1,000 editions!
The disc I "AM 5:00" is a live recording for 74 minutes which started in his apartment at 5:00 AM as the title says.
The disc 2 consists of 3 commissioned works and 15 new tracks reconstructed from many recordings at various places in recent years.
Both CDs are multi-track recording with analog tape machines without using any digital recording/mixing technique. "This is my small resistance to all that are made by copy-and-paste of digital data." (Nakahara) This inconvenience (= blood, sweat & tears) makes the sound vast and microscopic. The double CDs are packaged in a special 7" paper cover with a sticker and a gate-folded poster made by Nakahara." - boid.

"you must live in tokyo to be able to follow the immense output of the soundburrier that is MASAYA NAKAHARA, aka VIOLENT ONSEN GEISHA, most of his work doesnt make it out of Satou Dans Tatsunoya bar in Shinjuku, not because noone wants it, just because the tokyo noise scene seems to gather there late at night to forefil their pork anus - chicken paw needs, and NAKAHARAs last 40 cdrs were the ideal soundtracks for this ritual.
the old skool dead pan electronics, plunderphonics, parodies, noise blasts and synth madness that VIOLENT ONSEN GEISHA or HAIR STYLISTICS released, have always been accompanied by titles and artwork that made you doubt if it was even necessary to listen or look at anything else, much like the lafms box on rrr now that i think of it. bullshit of course, like every record announcement!
When i visited Tokyo in January i accidentally met Nakahara in a recordstore, we mainly communicated in sign language but he did remember that i asked him to do a record some years before, he sign languaged that he was bad with sending stuff in the mail and asked how many days i would stay in Tokyo, i made the rather simple hand gesture of putting 3 fingers in the air, which he replied to with the words "A side tommorow". As accidentally, i bump into him again the next day carrying around the A side in his pocket, all made on that day with a heavy flu, which is hearable on the lp, a stripped down heavy dim sum of collaged tapes, mini electronics, coughs, sneezes, and ants! his big synths etc were all locked up somewhere. "B SIDE ON MONDAY", which was the day i left, the legend goes that Tokyo airport had to call my name on the speakers as Nakahara brought the master to the airport, seriously a minute before my plane left to belgium again that monday.
the cover design and insert was a trio work of Nakahara Masaya, Tomoo Gokita and Dennis Tyfus.
this record is limited to 300 copies." -Ultra Eczema

"Two sessions, one recorded by mail in 2004, and one recorded at a studio in Shinjuku, 2009, alternating between sharp, cut-up collage, fleeting junk sounds, hard electronics, noise, and vocals. Boxset with many inserts from MASAYA NAKAHARA (formerly VIOLENT ONSEN GEISHA)." - Helicopter.

"Completely obscure private press from central Massachusetts, 1979. Candles Glow was recorded predominantly in the attic of an old farm house in northern New Hampshire. This is the same little corner of the world where Bobb Trimble made two of the best psych records ever, also around 1980. This albums not as out-there as Bobbs, but its completely unknown as far as you can tell and several tracks have got a nice rural psych feel with great, garage-y guitar work from Richard Thyng, as evidenced on "Morning Bird." Neil Youngs definitely an influence here, and the rest of the record is a lot mellower, with a few solo downer-folk numbers by Carl Hakansson and one really spooky and somber kind of chanted mantra a cappella track "Alone They Ride," credited to The Thyng-Hakansson Chorus." -Riverman

"Synthesizers and the human voice. Hawaii. The 1970s. Haku, aka Frank Tavares, a writer and musician, had a deep respect for the multiethnic character of his native Hawaii, and composed a number of theater pieces and songs to highlight this culture. However, he avoided many of the standard musical tropes, choosing to build his own studio and make all the music on synthesizers, a first for Hawaii. New age musical elements, traditional Hawaiian music, and unclassifiable madness, all played on glorious analog synths, are the foundation for songs and stories delivered in Hawaiian, Japanese, and English, reflecting Hawaiis multiethnic nature. Developed and recorded over several years, released in 1975 on vinyl, and woefully hard to find, it is now reissued for the first time." - EM.

"Synthesizers and the human voice. Hawaii. The 1970s. Haku, aka Frank Tavares, a writer and musician, had a deep respect for the multiethnic character of his native Hawaii, and composed a number of theater pieces and songs to highlight this culture. However, he avoided many of the standard musical tropes, choosing to build his own studio and make all the music on synthesizers, a first for Hawaii. New age musical elements, traditional Hawaiian music, and unclassifiable madness, all played on glorious analog synths, are the foundation for songs and stories delivered in Hawaiian, Japanese, and English, reflecting Hawaiis multiethnic nature. Developed and recorded over several years, released in 1975 on vinyl, and woefully hard to find, it is now reissued for the first time.” - EM.

"Three albums in, Steven R. Smiths new Hala Strana project has delivered its first masterpiece. Following his first two full-lengths from last year (Hala Strana on Emperor Jones and Fielding on Jewelled Antler) comes These Villages, a further culmination of Smiths interest in Eastern European folk music. Smiths original compositions are peppered with interpretations of traditional songs, presenting the collision of his musical interests throughout his rather prolific career over the past decade. Built upon layers of sustained drone & delicately plucked and bowed strings, These Villages creates a seemless, almost raga-like environment, with quiet-loud dynamics aplenty. Its a dark record, a definite work of beauty, and a perfect soundtrack for autumns changing leaves and howling winds." - Soft Abuse.

"Everything about this arty American New Music zine squeals quality, from its ridged cardboard, metallic-inked cover and enduring paper-stock, to the hefty price tag. But your bucks include a CD with tracks by Rafael Toral, Sun City Girls founder Richard Bishop, id battery, Motoharu Yoshizawa, plus a piece by David Tudor and more�??all of which feature in the mag. Opening with a brilliant, often scary travelogue by Richard Bishop (from spontaneous busking sessions in Morocco to self-induced vomiting in Calcutta), we get a long and fairly boring Joe Maneri Q&A; a piece on Portuguese guitarist Rafael Toral (just a monologue distilled from a long e-mail correspondence); memoirs of Yoshizawa and Tudor from various acquaintances, preciously poetic notes on location recording from id batterys Loren Chasse; and endless split columns of CD reviews. But the real gem here is the feature on little known American renaissance man (and pretender to Harry Smiths crown in the realm of eccentric sonic research) Ralph Haxton, who has had at least three groups including Californias rhBand, named after him."�?? Rob Young, WIRE.

"Dark and vicious post-punk from a seminal Bay Area group. This compilation includes the highly sought-after "In Turmoil"
EP from 1981 and five previously unheard studio recordings. Lovingly re-mastered from original masters and found cassettes by
Tardon Feathered and a beautiful sleeve designed by the late singers son, Shaun Durkan of Weekend." - Body Double.

HALF HIGH is LUCY PHELAN and MATTHEW HOPKINS. "Limited run of 40 CDRs, which come with an A4 fold out hand made collage by Hopkins.
After two recent releases Deserted Squares Under The Rain (Chemical Imbalance, 2017) and Folds (self released, 2016), which saw the duo inhabiting spaces swaddled in synthesizer warmth and scattered tape remains, Half High return, and make a harsh left turn, with Rubble Indent. The 3 tracks presented here follow a more hoarse kind of creeping than previous outings, with the introduction of heavily processed guitar and a more eroded approach to the electronics taking the pairs usual synthesizer/tape combo deeper into the gravel." - Half High.
Rubble Indent by Half High

"New York Citys Hall of Fame tread similar aesthetic waters as the psyche folk of Tower Recordings and the improvised partially composed music of the Dead C. Their debut is filled with primitive rhythms, droning violin, skipping records, unplugged electric guitars, bowed cymbals, violin, drums, bass and a wealth of found sounds. Especially beautiful is the Dada inspired sound collage of "78 Expansion" which randomly juxtaposes live and recorded sounds. This record also documents improvised songs, which were later covered as part of their live set ("Sunset Spiral "and "I Woke Up Today"). Hall of Fame consists of multi-instrumentalist Dan Brown (ex-Salmon Skin, God is my Co-pilot), Samara Lubelski (ex-Salmon Skin, and current Sonora Pine) and artist Theo Angel." - Amish.

"Two gems by the amazing and magical Hall of Fame (Samara Lubelski, Dan Brown and Theo Angell), both recorded as early as 1997. ⿿Cannibal⿝ presents a fluent storm of electric aces and aural snakes. It offers a short moment in the galaxy of fantastic rainbows of sound. ⿿Superstring Theory⿝ is definitely among the most danceable free folk pieces ever. Its a marriage of repetitive acoustic groove and a fan of colorful strong noises. Edition of 525." - Lal Lal Lal.

"Hall of Fame is back with three atonal campfire songs. Dan and Samara split the vocal duties on their first pop outing. This single reveals a more song-based side to the band. Whatever it lacks in drone, it provides with rock and hook. The two color screen-printed jackets were done by Wiggly Printing (Brooklyn, NY) Edition of 500." - Amish.

"New York Citys Hall of Fames second album First Came Love, Then Came the Tree... was recorded by Nicolas Verhnes on an island in Long Island Sound in 1998 at a time when the group was at the top of their form. The year after the release of their debut album saw the release of an Amish Records single and the band play shows with Tower Recordings, Ghost, The Major Stars and others. The album was originally released in 1999 on CD only (currently out-of-print) and Amish is pleased to offer (for the first time on vinyl) a limited edition deluxe LP version. The LP also comes with a bonus CD- R of a live set recorded at the short-lived Louisville venue, The Mercury Paw from 1998 right after First Came Love, then Came the Tree... was recorded." - Amish. Hall of Fame was Dan Brown, Theo Angell (filmmaker, Jackie OMotherfucker, recent release on Digitalis) and Samara Lubelski (solo works on Social Registry, Tower Recordings, Thurston Moore, Metabolismus and more). Limited to 250 copies.

"Hall Of Fame is a trio out of NYC comprised of Samara Lubelski, Dan Brown & Theo Angel. Paradise Now is their fourth full length album since their inception in 1995. Though hinted at on their previous Siltbreeze effort; this record is not a departure from their trademark psychedelic excursions but an evolution from their bedroom recordings, allowing their sound to be captured in a more fully realized dynamic staging. Carefully sculpting not only the inherent energies of the compositions but also drawing every audible element into the fold whether it be a slow drawn violin scrap, fluttering percussion or the slow echo of a vintage Ampeg Amplifier. This record exemplifies the kind of precision and subtle craftsmanship that exemplifies the honing of their abilities." - Social Registry. CD also available.

"New York Citys Hall of Fame tread similar aesthetic waters as the psyche folk of Tower Recordings and the improvised partially composed music of the Dead C. Their debut is filled with primitive rhythms, droning violin, skipping records, unplugged electric guitars, bowed cymbals, violin, drums, bass and a wealth of found sounds. Especially beautiful is the Dada inspired sound collage of "78 Expansion" which randomly juxtaposes live
and recorded sounds. This record also documents improvised songs, which were later covered as part of their live set ("Sunset Spiral "and "I Woke Up Today"). Hall of Fame consists of multi-instrumentalist Dan Brown (ex-Salmon Skin, God is my Co-pilot), Samara Lubelski (ex-Salmon Skin, and current Sonora Pine) and artist Theo Angel." - Amish.

"Hall of Fames third full-length album finds these NYC indoor miners forging even deeper into their secret cave of gems (financed with new picksnshovels on the Siltbreeze tab). Like their previous output on the Amish label, this ones a melange of tribal thump, eastern drone, raga concrete and melodious melancholia. Hall of Fames unique, not easily identifiable sound has been compared to revered oufits such as Flies Inside the Sun and The Shadow Ring, sometimes even in English. If, like the young scribes from Hayfever magazine, your recollection and your record collection go back further than a time we like to call ⿿the early 90s,⿝ its okay to shout ⿿king me!⿝ and move on. But if you really wanna sit around the ol checkerboard discussing strategy, then your next stop is a Lower East Side of the late 60s; Hall of Fames healthy smattering of influences stretches back to Ludlow Street-era Velvet Underground, Prestige-era Moondog, The Godz and Angus MacLise.
Recently the band played a series of shows with The Red Krayola, impressing the hell out of that old Quixotic Dadaist Mayo Thompson and his erstwhile Sancho Panza, David Grubbs. Senor Grubbs was so impressed that he enlisted HoFs Dan Brown to do some drumming for his forthcoming release of covers from various performances from the King Biscuit Flower Hour. Only in New York!" - Siltbreeze.

"Hall of Fames third full-length album finds these NYC indoor miners forging even deeper into their secret cave of gems (financed with new picksnshovels on the Siltbreeze tab). Like their previous output on the Amish label, this ones a melange of tribal thump, eastern drone, raga concrete and melodious melancholia. Hall of Fames unique, not easily identifiable sound has been compared to revered oufits such as Flies Inside the Sun and The Shadow Ring, sometimes even in English. If, like the young scribes from Hayfever magazine, your recollection and your record collection go back further than a time we like to call ⿿the early 90s,⿝ its okay to shout ⿿king me!⿝ and move on. But if you really wanna sit around the ol checkerboard discussing strategy, then your next stop is a Lower East Side of the late 60s; Hall of Fames healthy smattering of influences stretches back to Ludlow Street-era Velvet Underground, Prestige-era Moondog, The Godz and Angus MacLise.
Recently the band played a series of shows with The Red Krayola, impressing the hell out of that old Quixotic Dadaist Mayo Thompson and his erstwhile Sancho Panza, David Grubbs. Senor Grubbs was so impressed that he enlisted HoFs Dan Brown to do some drumming for his forthcoming release of covers from various performances from the King Biscuit Flower Hour. Only in New York!" - Siltbreeze.

"Hallelujahs were a band led by Shinji Shibayama, during the mid-eighties. This was their sole album, released in 1986 in an edition of 300 on Shibayamas fledgling ORG Records label. ORG went on to release some great records by Maher Shalal Hash Baz, Reiko Kudo and Love Beach (Shibayamas current dream-pop psych band). Musically, pop psych is about as close as Im going to want to get to a description of what they do. Theres something about this record thats hard to get a grip on. It seems to float on layers of melody rather than rhythm, and in places it has an incomparable start of autumn melancholic atmosphere. Subtle, but a grower if you give it enough time. Part of yet another invisible Japanese scene." - Alan Cummings. Highly recommended!
This is the remastered, 180 gram vinyl reissue which came out in 1997 in an edition of 500 a few years prior to the PSF CD. Includes obi strip and an insert (with lyrics and newly found photos).

"TOM LECKY stacks and layers acoustic, electric and lap steel guitars, delivering a new kind of studio improvisation-spontaneously made, yet feeling composed, gliding from harmonious to dissonant. MIE Musics vinyl reissue of his debut CD (Hundred Acre 2012) sweetens the deal with A Hem of Evening: six interlocking acoustic pieces that extend the structural themes of The Unions central acoustic tracks. Lecky again works with a range of overlapping improvisations and twisted melodic weavings, but here within a more naked and spare atmosphere. The Union is structured by continually stacking great density of sound and involutions, but A Hem of Evening works with a different geometry. In the words of Fluid Radios Andy Gillham, "A Hem of Evening shows "a canny ability to build meaningful musical structure from free-form composition." Includes a book of prose poems and photographs." -MIE.

“Stunning new jams by the trio of Ben Hall (Graveyards), C. Spencer Yeh
(Burning Star Core) and Mike Khoury. Two violins and incendiary drums for a
serie of dialogues that magically combine intensity and introspection,
rhythm and silence, discipline and fire. When imagination meets instinct,
music is free. A rare gem, a gift by gifted musicians.*
150 copies with handmade covers.” -8mm.

"also known as
"the bp band", this is one of our best releases
ever.... weirdest rock/improv unit ive ever heard....
guitar goes from weird waves of in and out volume to
complete mars style atonality into straight up hendrix
destroyed blues mania..... drums are like no other
drummer ive heard; dude plays a line, tries to copy it
but does a bit off, repeats this 3 or 4 times, then
goes into strange open wasted bashing that somehow
still retains logic... gonna be playing some gigs with
us in the next few weeks (chicago, stl and lexington)
so come check em ltd to 60" - Maim & Disfigure.

"Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighborhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha, and Mount Rushmore were built in this fashion. Wild, organic machine grooves, with a minds eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air. Spacious, witty, melancholic, deadly." - Honest Jons.

“Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighborhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha, and Mount Rushmore were built in this fashion. Wild, organic machine grooves, with a minds eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air. Spacious, witty, melancholic, deadly.” - Honest Jons.

"Since 2010s King Felix and into last years highly lauded Hour Logic, Laurel Halo has developed a self-contained take on electronic music, collapsing the boundaries between ambient, pop, synthetic psychedelia, dub and the techno music of her Midwest roots. Fixed stylistic territories fold in on themselves, time quickens--her music is meant for transit, body listening and loud soundsystems. Quarantine, her debut album and first release on Hyperdub, is her most focused and evolved recording yet. This is an album of transporting songs, various altitude shifts via effecting pop-concrete, built on a rich synthesis of intuitive but exacting electronic abstraction, bass pulse and heartfelt songwriting. Like her previous releases, Quarantine slams ambient suspension and disorienting detail up against each other. The 12 songs here operate as complex vacuums, airborne harmony and movement met with inci-dental noise and sub bass pressure, sample details and synth lines as trails across a mutilated sonic topography." -Hyperdub.

"Since 2010s King Felix and into last years highly lauded Hour Logic, Laurel Halo has developed a self-contained take on electronic music, collapsing the boundaries between ambient, pop, synthetic psychedelia, dub and the techno music of her Midwest roots. Fixed stylistic territories fold in on themselves, time quickens--her music is meant for transit, body listening and loud soundsystems. Quarantine, her debut album and first release on Hyperdub, is her most focused and evolved recording yet. This is an album of transporting songs, various altitude shifts via effecting pop-concrete, built on a rich synthesis of intuitive but exacting electronic abstraction, bass pulse and heartfelt songwriting. Like her previous releases, Quarantine slams ambient suspension and disorienting detail up against each other. The 12 songs here operate as complex vacuums, airborne harmony and movement met with inci-dental noise and sub bass pressure, sample details and synth lines as trails across a mutilated sonic topography." -Hyperdub.

"Sunlight On The Faded is energized and geometric, with lush chords built around hard, sparse drums and Laurels harmonized vocals. Choked samples and illusory FX support the vocal phrases, the lyrics hinting at a resolution from the pain of the albums themes, and a hopefulness too." -Hyperdub.

"Hamanas debut album recorded in 1974, was issued on the local Phoenix label, Canyon Records. To most of the 60s psychedelic rock/folk fans this is almost an unknown album, original pressings seem to have disappeared, only a few copies are known in collectors hands. Bruce Hamana, a native American, is a member of the Indian Hopi Tribe and went in 1969 to college near San Francisco to live in the white mans world. Instead of traditional native American themes he felt like writing modern, revolutionary, contemporary music -- the result you hear on this album is powerful and melodic, and expresses perfectly the sunny California peace, love & freedom feeling, but also contains a social-critical message.One of these days everything is gonna change, things you take for granted will be taken away from you. The music itself is emotive with strong vocals, lots of Westcoast psychedelic guitar flashes, a bit garage feeling but also loner folk style with native American elements. The appeal of this album reminds of Quicksilver Messenger Service, The Byrds, X.I.T, Neil Young, Buffalo Springfield, Garrett Lund. Near unbelievable that on these recordings all instruments, bass, guitars, vocals and drums have been played by Hamana himself, to get overdubbed and to become finally a tasty and atmospheric stereo acoustic/electric mix." - World In Sound.

..Recorded Live in the Party Room at Arcadias Zelo Pizzeria, Friday, May 13th, 2011. "An unauthorized live recording of world-famous Neil Hamburger at Taylor Brigodes bachelor party. Hamburger delivered both classic gags and brand-new zingers to a half-full Party Room at Zelo Pizzeria in Arcadia, California. Hear all of the tasteless shenanigans that ruined poor Taylors pizza party on this collectable 7" pink vinyl disc. First 25 000 copies come in a limited and numbered picture sleeve." - Boo-Hooray.

"A somber work from a seasoned entertainer clearly carrying the weight of the world on his shoulders, First of Dismay is being issued in answer to many who have applauded for more! more! Specially-chosen stand-up comedy recordings from Neils recent appearances at coveted nightclubs in London, Savannah, and Los Angeles are interspersed with musical cries for help, as Neil emotes with the purely professional panache of the Too Good For Neil Hamburger Band in support. Song highlights include Endless Roll, a disco complaint letter aimed at Kirkland Signature trash bags (featuring guest spots from members of The Germs and Jefferson Starship!!), and Nickel Candy: societal decline set to music. Although Neil was strongly advised against the risk of merging side-splitting comedy segments with melancholy musical numbers, the exciting potpourri that resulted has enhanced his sparkle into a veritable milky way of entertainment." - Drag City.

“A few years ago we were lucky to be allowed to reissue some of Peter Michael Hamel works. Two LPs by Between (And The Waters Opened - now deleted - and Einstieg -a few copies still available) and the great Hamel 2LP (also deleted!) joined the Wah Wah catalogue. We would have wanted to go for the Voice Of The Silence too, an now we have finally got the kind permission to go for it.
Here is a much needed reissue of the sought after second LP by Peter Michael Hamel, originally released on the collectable Vertigo label in 1973. Hamels experimentation with meditative and minimalist sounds is a further field of exploration for those into the likes of Terry Riley, LaMonte Young, Popol Vuh, Taj Mahal Travellers or Deuter - and will also appeal to those with interest in ambient and meditation musics.
From "A Few Thoughts on Composer PMH" by Terry Riley:
"...Peters heart did not seem to be aligned alone with the post Webern traditions that had emerged so prevalently in Germany. His sensibilities were attracted more to American minimalism and Indian music and to some degree Rock and Jazz. In this sense he stands apart in the field of modern music of Germany. He has recognized the vast importance of improvisation and being in the moment in music performance. He realizes the importance of experimentation and of finding new ways to notate his ideas. However, his music is at the same time rooted in the great German tradition and today he is recognized as a major figure whose compositions have greatly enriched the development of 20th and 21st century."
Originally released in Vertigo in 1973, the Wah Wah reissue will come housed in a textured sleeve reproducing the original artwork, remastered sound, and feature an insert with photos and liner notes. Limited edition of only 500 copies.” - Wah Wah.

Reissue of the 1976 release on Edition Hansjörg Mayer. Edition of 500. “Canciones de Cadaques is a musical collaboration between Dieter Roth and Richard Hamilton that was originally published by Hansjörg Mayer in 1976. It takes the form of a double 45 record and features the two artists alternately performing on vocals and guitar, with assistance from a Cadaqués dog named Chispas Luis, who periodically takes over vocal duties with a particularly sharp bark. This facsimile edition reproduces the originals gatefold design, and features eight color photographs of the recording session taken by Rita Donagh.
Roth and Hamilton worked together from 1961 to 1998 and over this time, produced several projects across many mediums. At the time of the recording, the artists were working together in Cadaqués, Spain, where they also produced a series of drawings and paintings, which was accompanied by a drawing or painting that acted as a certificate to the original work. Both artists worked with music and sound, though in different capacities. Roth produced sounds works and created music throughout much of his life. He also ran a record label, Roths Verlag, that released his and other artists works in the 70s and 80s. Hamilton was actively engaged with music through his work, most notable of which was his design for the Beatles White Album cover.
Dieter Roth (1930-1998) was a prolific German-Swiss artist whose diverse works included sculpture, painting, design, performances, books, poetry, and printmaking that referenced literature, music, history, and his own life. Roth challenged conventions of art by merging different media and utilizing materials that decayed over time. He frequently produced artists books, and his groundbreaking publications remain monumental and influential.
Richard Hamilton (1922-2011) was an English pioneer of Pop Art. His paintings, installations, collages, and prints combined his interest in high and low culture through consumer goods, commercial design, references to other artworks, and celebrities. Throughout his career, Hamilton also made overtly political works, mostly centered on his reactions to British politics.” - Primary Information

"two lovely looping tracks made from electric guitar, sampler pedal, spring reverb, computer and lathe. Music thats perfectly suited to the format, loops that shift and change over the 4 mins or so per side. When the records came back I wasnt sure if my old Garrard was sticking on a groove or playing the piece. It was playing, nice... Sam is currently in South America on various recording projects, an old bio below:
sitting free from the shallow waters of borderline music, watching stones sink and demanding rigidly defined areas of doubt and uncertainty in the ripples:
"hey dickhead,your guitar is out of tune!"" - CMR. Edition of 45.

"Kvist Records presents this 2CD release, reissuing out-of-print works originally released on the artists own Somnath label. Although Tom Hamiltons more recent CDs (London Fix, Off-Hour Wait State, and Shadow Machine) are well known to fans of electronic music and reviewers alike, his earlier LP recordings became known as underground classics to the collectors of independent music from that era. This 2CD set was made from the original master tapes, and brings to light some of the best work of Hamiltons highly prolific St. Louis years, starting decades before he became involved with musical life in downtown New York. In the 1970s, Hamilton was working in semi-isolation, though connected to a burgeoning arts scene in St. Louis, and developing his idiosyncratic techniques with the ARP and Serge modular analog synthesizers of that era. The first CD, Pieces For Kohn, is comprised of four multi-layered electronic pieces, musical responses to four paintings by artist Bill Kohn. The second CD, Formal & Informal Music, contains the title piece Formal & Informal Music (1980), and Crimson Sterling (1973) -- both featuring improvisations by JD Parran, woodwinds, Rich ODonnell, percussion, and Hamilton on analog synthesizers. The music on these CDs establish some of Hamiltons most prominent style characteristics: clouds of fast pitches hinting at pointillistic and kinetic imagery; suggestions of tonality without real resolution; and highly-charged rhythms contributing to intricate textures -- sometimes existing on their own, sometimes offering accompaniment to improvising soloists." - Kvist. Includes a 20-page booklet with liner notes by Hamilton and historic photos.

"2014 release. Shadoks Music present a reissue of Hamlets only album Linnanherra (1977). Hamlet formed as Survival in 1973 and played many concerts in Finland. The highlight for the band was during in 1977 when the small town country boys got to make their first album, Linnanherra. They were booked at the best studio in Finland, Finnvox in Helsinki, together with the British sound technician Ian Churches. The producer wanted them to change their names to Hamlet for a better sale point (given the new outfit on the cover). The band never agreed but the Discovox label released the album under the new name with a new medieval outfit on the cover. This extremely rare Finnish progressive rock album was later withdrawn by the label. Linnanherra was the only album the band recorded. The music might go in a similar direction that Finnish Session, heavy psych progressive rock, heavy lead guitars all over, great songs and very well produced. Personnel: Jouko Nykter - vocals; Hannu Nykter - guitar, vocals; Jouni Limingoja - bass, vocals; Harri Kannel - guitar; Kalle Kähkönen - drums. This album is rare as gold dust, a really cool heavy album. 180 gram vinyl. Comes in a heavy gatefold sleeve with a two-page insert. Edition of 500 (numbered)." - Shadoks.

"When Mike Hammer and Donny Damage bowed out of Akron, OHs Rubber City Rebels, they wasted no time in forming a band that would top anything their previous groug would ever do. Hammer Damages sole 45 lassos the best elements of punk, pop and hard rock, delivering a killer one-two punch in the snotty Laugh and the infectious, anthemic Automatic Lips. Sadly, major labels and critics were blind to this foursomes genius during the feeding frenzy that spawned much-lauded LPs by Devo & the Bizzaros, but you can correct their oversight by nabbing this reissue of one of the best singles in the KBD canon." - Last Laugh.

"With I Love You, Please Love Me Too, Joseph Hammer continues his journey into playful yet heavily focused idiot-savant infinite psychedelic inertia. Utilizing consumer audio technology and 20th century detritus, Hammer lovingly decodes his passion for mid-century sci-fi and AM radio stations beyond all point of recognition like a snake charmer. Multi-dimensional audio collage techniques to a freeform and completely unorthodox plunderphonic hypnosis. Baked devotionals for tape loop minds. Joseph Hammer, a sound artist from Los Angeles, has actively created experimental works since 1980 as a member of the LAFMS collective. His practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo, and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los Angeles underground scene. The LP is mastered by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas." -Pan.

"LAFMS musician Joseph Hammer creates unparalleled works of tape manipulation. However, as yet there are comparatively few solo albums by this phenomenal artist. To rectify this situation, Art Into Life has decided to release Roadless Travel, his latest album. The album comes with a dense 24 page booklet of liner notes (essentially a full history of Hammer) by T. Sakaguchi, who has enjoyed a long friendship with him and is the foremost Japanese historian of the LAFMS scene." - Art Into Life.

"Hammering The Cramps were a Hobart band active between 2005 -2007, with this LP being recorded at a rehearsal in Janurary 2007. In Hobart their audience was sadly limited at the time (and still is) and it would be a shame for them to fall between the cracks, because theyre one of the greatest groups to come out of this town. Their sound is loose, loud and heartfelt and has a similar charector to that of Xpressway artists, Roky Erickson and Brian Enos "Here Come The Warm Jets"." - Wormwood Grasshopper.

"Led by ex-CRUSHED BUTLER singer-guitarist Jesse Hector, these four very raw proto- punk tracks were recorded for the Chiswick and Penny Farthing labels in 1974 and 1975, though never released until now. "Eleanor Soapdodge" and "I Live in Style in Maida Vaile" come from the same 1974 Penny Farthing sessions as that years 7" release, while "Shame Shame Shame" and "Moonshine" are from their 1975 Chiswick session at Islingtons Hope & Anchor Studio. Limited pressing of 500 copies." -EMI.

"Absolute perfection from Denmark. Poetic lyrics and a haunting sense of urgency. A fine companion for the end of winter.
Members of Sexdrome and Torchlight.
Strict edition of 300. Hand stamped labels and lyric sheet." - Blind Prophet.

"A strange and, as the group name indicates, meditative handmade
acoustic fusion of Indian raga music and Western folk rock.
For comparison one can mention British hippie folk rock such as Dr. Strangely
Strange,The Incredible String Band (and also) reminds us of
Japans Maher Shalal Hash Baz." - Dan Backman, SVD. "Handgjort (trans. "Handmade") recorded a legendary album in 1970 released by Silence
Records. All covers were hand-painted by the band members. The music is moody
underground folk with Eastern influences. The album sold very poorly and is a serious
collectors item today. The original band members were: Marcus Brandelius aka Greg
Fitzpatrick (esraj and vocals), Guy Öhrström (acoustic guitar), Stig Arne Karlsson
(sitar), and Theo Greyerz (tablas). After over three years of preparation, Handgjort is
reissued, released as a coproduction from Silence and Psykofon records. This is an exclusive
replica, with hand-painted covers by the band members once again! The original album was
remastered from the master tapes without digitalization. The previously-unreleased bonus
tracks were all recorded live at the festivals at Gärdet in 1970 and 1971. Strictly limited
edition of 600 copies done with the full cooperation of the band. The deluxe vinyl version,
released by Psykofon Records, includes the previously-unreleased live material on a bonus LP." - Psykofon. Very highly recommended!

"Handgjort (trans. "Handmade") recorded a legendary album in 1970 released by Silence Records. All covers were hand-painted by the band members. The music is moody underground folk with Eastern influences. The album sold very poorly and is a serious collectors item today. The original band members were: Marcus Brandelius aka Greg Fitzpatrick (esraj and vocals), Guy Öhrström (acoustic guitar), Stig Arne Karlsson (sitar), and Theo Greyerz (tablas). After over three years of preparation, Handgjort is reissued, released as a coproduction from Silence and Psykofon records. This is an exclusive replica, with hand-painted covers by the band members once again! The original album was remastered from the master tapes without digitalization. The previously-unreleased bonus tracks were all recorded live at the festivals at Gärdet in 1970 and 1971. Strictly limited edition of 600 copies done with the full cooperation of the band. CD includes a 32-page booklet telling the complete, uncensored story of Handgjort, featuring unique photos and lots of reproductions of original Handgjort hand-painted covers. The CD also includes one exclusive bonus track, "Gregs Recitation," not featured on the LP version." - Silence.

"one-sided LP/ BLACK TO ATTACK!!! Old solo reed project now a fleshed out band with Thrasher Slowson and Sara Okeffe from ARA (whose LP on WHAT THE?? is a stone ruler of sweetnezz) on tenor and alto saxes, bass and regular clarinets and mangled electronics. Debut platter after a handful of gigs in the Natti, Lexington and No Fun 08. Drifting and subterranean noisez that attach on your brain and plant seeds of slow motion anti-body lurking sound creatures inside the shadowz of your skull. Warning: Cemented Freeze Zone. #erd Edition of 100, paste on sleeves of inzane art."-American Tapes

"I dont care how many goddamn cute hobo bands there are out there right now. Not two runny shits. Theres something HANK IV knows that few other current of interest bands realize, and its a painfully simple thing: guitars were meant to sound like this, not that (pick something). Thats as plainly as it can be put. This is twin-guitar punk rock in a class of its own, driving more than dueling and hot-sauce-free. III is Hank Babys third and finest album yet and they are, in short, a band whose every move is worthy of your utmost attention. For this record (their second for Siltbreeze), Thee Hanks opted to spend zero dollars and buried themselves deep inside their very own Shill Building studio for a good, long while. Sightings became scarce. Promises of work being done were made but who really knew what was going on? To be fair, The Shill has its fair share of distractions. Imagine Platos Retreat, except like a basement in the Tenderloin. Anyway, the result of their self-imposed exile is this album bearing the aroma of fuck you coupled with a faint flutter of fuck me. Its eight songs in 25 minutes of loud, angry, intelligent, rock n roll punk and its from San Francisco. Beyond that, the rhythms actually have a rhythm-a loud, all-rock rhythm, in fact. Its shocking and practically akin to reinventing the wheel round these un-rocking parts. Great-and now the worldll probably explode. Do I gotta pick a cut to exalt? Down in the Dumps springs forth. Hopefully the punks follow suit."-Mitch Cardwell . Includes free digital download coupon and insert.

"A decidedly meaner, sharper, and more pummeling affair than their critically acclaimed debut, Hank IVs second album, Refuge in Genre, sports eleven songs in 30 scorched-earth minutes. No visit to the lo-fi or "shit-gaze" Quonset huts this, Refuge in Genre was recorded in shattering hi-fidelity by Tim Green (The Fucking Champs) and mastered by Bob Weston (Shellac).
The rollicking San Francisco quintet has been in the crosshairs of the Siltbreeze hunting rifle since just after the release of their debut LP, Third Person Shooter, was (Hook or Crook, 2006). Attempts to release their Dirty Poncho 7-inch were squashed (the honor went to Plastic Idol) so Siltbreeze did what any jilted paramour would: decided to get even.
The sound of Hank IV is a bit too wily and scrambled to pigeonhole as any one type of honk. Forward thinkers might tag em as panic-skiffle, combining the cunning and menace of compadres such as Thomas Jefferson Slave Apartments or Country Teasers, with a dual guitar attack that nods toward the Bailey / Kuepper-era Saints as much as those dudes looked at Smith / Kramer for their nascent moves. Through all this stutter and pummel, vocalist Bob McDonald (formerly of Denver hardcore icons Bum Kon) doesnt throw caution to the wind so much as atomize it. If a shattered leg cant keep this herc from heralding the apocalypse, do you think your tender widdle ears have a chance? Not likely, bub.
San Francisco quintet Hank IV has no relation whatsoever to the Hank Williams clan. Their hard-charging and visceral dual-guitar rock punk has been likened to "Crime meets Viletones meets Styrenes punk" (Z-Gun Magazine) and by WFMUs DJ Terre T as "a sick combination of Volcano Suns and Blue Cheer and Chain Gang!" Third Person Shooter was called "one of 2006s top punk albums" by Maximum Rockandroll, "Best of 2006" by Terminal Boredom, #2 album of 2006 by WFMU DJ Evan Funk Davies, and the #8 album of 2006 by Terre T. The band has played twice at SXSW, including 2008 for the WFMU 50th anniversary showcase, and performed at Gonerfest IV in Memphis in 2007." - Siltbreeze.

"Patric Catani started to make music very early, in his teenager age he used to program on his C64 Computer and used to rip the old arcade game music out of games. He continued to work on the home computer and made his first Hardcore/Techno Candie Hank is a grotesque entertainment show with no limit, a collision of Rock´n Roll, Moog influenced but harsh synthscapes breakcore but Belly Dance Punk and Gabba like Proto Pop. His debut LP Kimouchi just got released on Gagarin Records run by Felix Kubin who couldn´t deny to release the Candie Hank stuff and even called it a landmark. Candie Hank calls it Lubricant Sleazecore.Gabba record in the age of 16 in the year 1992 on his Amiga 500 computer." -Gagarin

"The Paris-based Collapsing Market label unveil a gem of found art with Tschashm-e-Del: a radio play recorded in Iran sometime during the 60s by Morteza Hannaneh, co-founder of the Tehran Symphony Orchestra with Parvis Mahmoud, and the grandfather of Collapsing Market co-owner Cyrus Goberville, who discovered the recording on a tape at his home. Without definitive records to go from, Tschashm-e-Del was presumably recorded in the 60s (certainly pre-revolution) and quite possibly broadcast on Radio Tehran. Now restored from the original reels, it reveals a gorgeous and important suite of music set to a Ghazal -- an ancient Arabic ode, or poetic expression of the pain and beauty of love, loss or separation -- written by Hatef Esfehani, who was a famous Iranian poet of the 18th century. The ghazal deals with the founding principles of Sufism and monotheism through a love story between Hatef and a Christian girl, with Morteza Hannanehs musical arrangement matching the specific rhyming structure of its ancient classical form, itself rooted in tradition stretching back to at least the 10th century, whilst also incorporating string elements of western orchestration relating to Hannanehs background in composing for cinema. Its the kind of music you might expect to turn up on a Folkways or Dead-Cert release. Its presented with artwork made by Thomas Jeppe, a noted artist familiar with Persian culture; the sleeve image depicts the Ashura procession. Edition of 500." - Collapsing Market.

"Latest in a very long line of guitar and drums duo releases from Bailey, encompassing sessions with Han Bennink, Jamie Muir, Andrea Centazzo, John Stevens, Cyro Baptista, Tony Oxley, Susie Ibarra, Eddie Prevost, and probably several more that have slipped my mind. This is his first record with Japanese powerhouse drummer Shoji Hano, recorded at Moat Studios in London in June 2000. Hano is best known outside of Japan for his brief tenure as drummer in speedfreak rock band High Rise. But he has had an even lengthier career as an improv drummer, with his own roster of groups (including the Polybreath Percussion Band, as documented on PSFD-92) and with the likes of Peter Brotzmann and William Parker. This session with Bailey was the realisation of a long-held dream for Hano, and he was fully psyched up for the date. Baileys playing is squarely in his recent style, centering around dry note clutches and some gorgeously controlled feedback swells. Hanos drumming here sacrifices his exemplary rock motion in favour of a more pulse orientated approach. He brings a weighty presence to his work on toms especially, the result of years of rigorous training in locating the spiritual through the physical. The results are pleasingly heavy, with a density of detail that repays high-volume playback. Four tracks, two of them just under the twenty minute mark, the other two hovering around five or six minutes. Each one named after a species of fish. Very fetching picture of a monkfish on the cover, too." - Alan Cummings.

"Im getting majorly sore cheeks from grinning and top tapping to these freewheelin bung pop gems from Sachsen, Germany, while being simultaneously amazed at how they explode in rich technicolour with such a full sound - fried guitar licks, cheery vocal squeaks and twinkling xylophone runs - but are largely the work of one guy named Oliver Scharf. I found Oliver through his Zac Efron-channeling solo project Male Models, but soon learnt it was just "a one afternoon project" - and that his other moniker Hanoi Janes will be used for all future musical forays, along with a couple of pals banging some drums from time to time." -Rose Quartz.

"Hanoi Janes is back for his first release since the critically acclaimed "Year of Panic" LP. Five (FIVE) songs on this 7" in vein of his earlier 7" and LP, pushing the envelope in Olivers vision of cacophonous pop to the hilt. The soundtrack for the only party episode ever filmed for the Twilight Zone? Probably." -Captured Tracks

"With the obvious homage the name implies, youd expect Hanoi Janes to be a group of riot grrrl angnsty types, displaced in time by about 20 odd years. Having taken on the nickname given to Jane Fonda in the 70s because of her anti-war stance on Vietnam, these girls would be all bent up about, well you know, stuff. Youd expect that, but youd be wrong. It is in fact primarily the work of one guy from Sachen, Germany �?? Oliver Scharf. But then Hanoi Janes album, Year of Panic, is able to inspire all kinds of misconceptions. Name of the band aside, would you expect a German guy (whos a bit handy with an eight-track) to produce a series of beautifully lo-fi, sub two-minute, surf-pop tracks, full of buzzing guitar and bubblegum spirit. Maybe �?? maybe not. But thats just what Scharf has done. The sound is distinctly garage, reminiscent of a 70s surf sound, and like The 5. 6. 7. 8s, Hanoi Janes are able to launch into the genre with the luxury of being removed from the scene itself. Tracks like opener, The Boys Are Out and Beach Kids are unashamedly infectious, utilising catchy hooks, hand claps and the odd Ooo ooo ooo to great effect. The production is fuzzy, but that only adds to the overall charm of the album. Because charming is what it is, as Hanoi Janes have packed Year of Panic with some real gems. Summer of Panic offers something tinted with psychedelic sounds; Our Lives could have been an early track by The Strokes had they been influenced by the Californian sun rather than the New York shadows; Good Bone is a track which can only be performed if there are several oversized surf-boards nearby. Year of Panic is lo-fi, scuzzy garage surf-pop at its finest and it deserves to be the sound-track of your summer" -Bowlegs.

"With the obvious homage the name implies, youd expect Hanoi Janes to be a group of riot grrrl angnsty types, displaced in time by about 20 odd years. Having taken on the nickname given to Jane Fonda in the 70s because of her anti-war stance on Vietnam, these girls would be all bent up about, well you know, stuff. Youd expect that, but youd be wrong. It is in fact primarily the work of one guy from Sachen, Germany ⿿ Oliver Scharf. But then Hanoi Janes album, Year of Panic, is able to inspire all kinds of misconceptions. Name of the band aside, would you expect a German guy (whos a bit handy with an eight-track) to produce a series of beautifully lo-fi, sub two-minute, surf-pop tracks, full of buzzing guitar and bubblegum spirit. Maybe ⿿ maybe not. But thats just what Scharf has done. The sound is distinctly garage, reminiscent of a 70s surf sound, and like The 5. 6. 7. 8s, Hanoi Janes are able to launch into the genre with the luxury of being removed from the scene itself. Tracks like opener, The Boys Are Out and Beach Kids are unashamedly infectious, utilising catchy hooks, hand claps and the odd Ooo ooo ooo to great effect. The production is fuzzy, but that only adds to the overall charm of the album. Because charming is what it is, as Hanoi Janes have packed Year of Panic with some real gems. Summer of Panic offers something tinted with psychedelic sounds; Our Lives could have been an early track by The Strokes had they been influenced by the Californian sun rather than the New York shadows; Good Bone is a track which can only be performed if there are several oversized surf-boards nearby. Year of Panic is lo-fi, scuzzy garage surf-pop at its finest and it deserves to be the sound-track of your summer" -BOWLEGS, UK

"An official reissue of the 2nd album by this very popular German punk band, first released on the No Fun label in 1981. More catchy tunes in a style reminiscent of 70s British punk� meets German cabaret, with snotty, sarcastic female vocals and�lots of musical clowning around.� With 24-page booklet of lyrics, photos, artwork, rants, jokes, etc." - Re-Force.

"A collage consisting of sounds recorded between 7PM October 11th and November 12th, 1986 in New York City by the New York City Audio/Visual Group led by Al Hansen. Features Al, Lisa Cieslik, Georg (ist Warhol!), Suzanne Zierold, Dieter Hebben, Peter Kleinertz, Hanjo S., Nicole Hundertmark, and others. Figures like Gerard Malanga, Angus MacLise, Valerie Solanas, Warhol, and others are roasted/honored (the tone is always a little hard to suss) in the form of chants like Long Live Andy Panda, etc... Hansen was one of the 14 Classic Fluxus Folks whose most well known pieces such as "Piano Drop" are eclipsed historically by the 2 generations removed betwixt himself and Beck Hansen, a quirky & dubiously Fluxus-aligned pop star (couplets like the sales climb high through the garbage pail sky/like a giant dildo crushing the sun seem the only proof of this) of global renown with whom Al shared an exhibition (and a lovely coffee table gallery edition) titled Playing with Matches. Eleven-minute-and-sixteen-second program (one track) leaves you wanting more, but youll need a few plays for it all to sink in anyways so stop complaining. Yet another necessary piece of the flux-sound puzzle (the eye of a bird, a penguin leg, or perhaps one of the corners...)." - Hrvatski.

"Sten Hanson has worked in the area of experimental music, literature and intermedia art since the early sixties. His large and varied production includes instrumental and electronic music, music drama, performance, music for dance and theatre, works for radio and television, literary works and large outdoor events. This record presents his main work in the text-sound field -- The Trilogy of Vocal Energy -- and also two examples of the shorter works of which he has produced many during the years." - Fylkingen. New/Unplayed copies of this 1978 release.

"This edition is the digital version of the LP issued some years ago in the VocSon series and is only available with the alga marghen copies of Sten Hansons heavy hardcover luxury book titled Works / Oeuvres / Werke /Arbeten. The cd contains works from more than three decades, thus covering almost the entire career of Sten Hanson as a sound artist. All these works were previously released on record by alga marghen on the now sold out LP with the same title, as well as in various Text Sound Composition rare LP anthologies issued in Sweden between 1968 and 1970. The oldest work on the record is Danse figure (for EP) which was first performed at the Pistol Theatre, Stockholm in 1965. The work is inspired by a poem by Ezra Pound with the same title and is made out of recording of the first two lines in that poem. This work is followed by three examples of Hansons shamanistic poems: Hermetic Back Piece, The New York Lament and Skärp dig, för fan!. Lettre dun etranger deals with the problems of communication between people close to one other and was first performed in the framwork of Polyphonix 13, Paris in 1988. Am strengsten verboten is the contribution to an intermedia event by Charlie Morrow, Carles Santos and Sten Hanson himself performed in two boxing rings at Bobby Gleasons Gym, in the shadow of Madison Square Garden, New York in 1981. Les Martyrs was a part of the intermedia opera Robespierres Last Night, first performed in Hudiksvall, Sweden in 1975. Les sabots de bouc is a poem without words telling a story like a medieval morality from the times when the cathedrals were built and the devil was a force to be reckoned with. Che is a pamphlet based on a speech by Ernesto Che Guevara, while Coucher et soufler is a play on the problems of human communication. Western Europe 1969 is a satire on superficiality. The Destruction of Your Genetical Code by Drugs, Poisons and Radiation is based on a visual poem already conceived in 1960, when the idea that genetic damage could affect mans offspring for coming generations was a fairly new and shocking one. Au 197.0 was composed at the request of choreographer Susanne Valentin, who wanted a piece for a work on rites; as rite demands religion and it seemed clear to the composer that materialism is the only real living religion of our time. Finale, a piece to end with, was first performed in Annecy, France in 1995. Edition limited to 90 copies, including a 12 page booklet with liner notes, photos as well as concrete and visual poems." -Alga Marghen. 100+ page hardcover book with CD.

"This edition is the digital version of the LP issued some years ago in the VocSon series and is only available with the alga marghen copies of Sten Hansons heavy hardcover luxury book titled Works / Oeuvres / Werke /Arbeten. The cd contains works from more than three decades, thus covering almost the entire career of Sten Hanson as a sound artist. All these works were previously released on record by alga marghen on the now sold out LP with the same title, as well as in various Text Sound Composition rare LP anthologies issued in Sweden between 1968 and 1970. The oldest work on the record is Danse figure (for EP) which was first performed at the Pistol Theatre, Stockholm in 1965. The work is inspired by a poem by Ezra Pound with the same title and is made out of recording of the first two lines in that poem. This work is followed by three examples of Hansons shamanistic poems: Hermetic Back Piece, The New York Lament and Skärp dig, för fan!. Lettre dun etranger deals with the problems of communication between people close to one other and was first performed in the framwork of Polyphonix 13, Paris in 1988. Am strengsten verboten is the contribution to an intermedia event by Charlie Morrow, Carles Santos and Sten Hanson himself performed in two boxing rings at Bobby Gleasons Gym, in the shadow of Madison Square Garden, New York in 1981. Les Martyrs was a part of the intermedia opera Robespierres Last Night, first performed in Hudiksvall, Sweden in 1975. Les sabots de bouc is a poem without words telling a story like a medieval morality from the times when the cathedrals were built and the devil was a force to be reckoned with. Che is a pamphlet based on a speech by Ernesto Che Guevara, while Coucher et soufler is a play on the problems of human communication. Western Europe 1969 is a satire on superficiality. The Destruction of Your Genetical Code by Drugs, Poisons and Radiation is based on a visual poem already conceived in 1960, when the idea that genetic damage could affect mans offspring for coming generations was a fairly new and shocking one. Au 197.0 was composed at the request of choreographer Susanne Valentin, who wanted a piece for a work on rites; as rite demands religion and it seemed clear to the composer that materialism is the only real living religion of our time. Finale, a piece to end with, was first performed in Annecy, France in 1995. Edition limited to 90 copies, including a 12 page booklet with liner notes, photos as well as concrete and visual poems." - Alga Marghen. 100+ page hardcover book with CD.

"2013 repress. Reissue of what was the first ever release on Silence, initially issued in 1970. This was also the first Bo Hansson album, the Swedish legend known to be one of the earliest to place "space music". Produced as a tribute to the Tolkien trilogy, this is stunning instrumental psychedelic music, with plush atmospherics -- Dont Fear The Hobbit! This version is the original Swedish titled version, with one bonus track ("Tidiga skisser Från Midgård"); there is also an English-titled version with different bonus tracks. This is a digitally remastered issue from 2001. Performed by: Bo Hansson (Organs, guitar, moog, bass), Rune Carlsson (drums, congas), Gunnar Bergsten (saxophone), Sten Bergman (flute). "Lord of the Rings was released late in the fall of 1970 and became an immediate success. Bo himself was in the midst of a very creative period, new melodies were constantly popping up in his head, so when Lord of the Rings finally got released in other countries there were already three more tracks added compared to the first Swedish issue. In the encyclopedia Guide to Progressive Rock, Bo Hansson is mentioned with reverence and respect. He is the first to play space music, he is a precursor to the French prog-celebrities Gong and English Henry Cow, and contemporary style-formers as Genesis and Yes. Bo Hansson is an innovator in the most noble sense of the word."" -Silence.

"Naomi Shimada returns from her post-Superball hair vacation with a pants-off take on glass fires style disco for kidults and middlscents a like. With more menthol than a noxema menthol shave, this 10 inch reeks wilder than her infamous backstage demands. Poor pissy dhr-pukes can now taste the true techno python." - Hells Half Halo.

"Following the lack of success generated by The Phantoms Divine Comedy which briefly appeared on Capitol circa 1974, Tommy Court, the tortured genius behind the bands Doors-like facade, dropped the mask and wrote and produced this album of electronic gymnastics and fuzz guitars which appeared on the Fiddlers Music label (Fiddlers Music Company) in 1978 under the guise of the Happy Dragon Band. The album features loads of synthesizers, electronic sound effects and spacey, cosmic electronics. Every track is uniquely engaging, with the stand-outs being Positive People, In Flight and 3-D Free (the last being a total electronic freakout from start to finish), maintaining their high level of originality and a clear penchant for electronic experimentation." - Radioactive. Very highly recommended!

"Freewheeling Brattleboro, VT rock/folk wonderments the Happy Jawbone Family Band bring their latest full-length to Mexican Summer. What theyve entrusted us to give to you represents their finest and most directly fulfilling effort to date. The energy and humor of early releases remains; that band you may have loved before has grown even stronger and more potent, its songs now monuments to individualism, to longing, to happier endings resulting from imperfect circumstances. Binding folk, indie rock and pop forms together is easy enough; its what this band does with them, how it builds its sentiments and bursts preconceptions, that put them in a place where these musicians can rest, comfortably above and apart from almost every band working in this same terrain today. Were hearing the trippiest moments of the Beatles, Lindsey Buckingham at the peaks he reached on Tusk, and both poles of American post-punk songwriting royalty, Camper Van Beethoven at one end and Thinking Fellers Union Local 282 at the other." - Mexican Summer.

"Edition of 250. The Hotel Double Tragedy is constantly burning. You will be too with these new
hits from the family! Simply listen to the album at a decent volume and watch your life fall apart. We were thinking of releasing this album under the pretense that it was found under the bed of a dead priest who was the grandfather of a couple of members of the Vaselines, but we thought better of it. You deserve the TRUTH! You deserve magic in POP ATTITUDE! You deserve ONE ANCIENT JANGLE! In ten seconds FLAT! You deserve HOTEL DOUBLE TRAGEDY! Get one today
for yourself or for someone you care about." -Feeding Tube

"The second LP (fifth album) by this Vermont/Colorado quintet finds them traipsing ever deeper into the kind of mythic American territory we usually associate with bands who view our landscape from far outside its windows. Think of Australias Triffids or New Zealands Renderers and cross their brilliant Southern Hemisphere inventions with truths only wrenchable from the heart of the beast. Theres a genuine ruralist hoot factor here so smooth that it hits like a ton of silk, but theres enough killbilly undertow to keep everyone standing nervously around that jug of magic moonshine" - Feeding Tube.

"The second LP (fifth album) by this Vermont/Colorado quintet finds them traipsing ever deeper into the kind of mythic American territory we usually associate with bands who view our landscape from far outside its windows. Think of Australias Triffids or New Zealands Renderers and cross their brilliant Southern Hemisphere inventions with truths only wrenchable from the heart of the beast. Theres a genuine ruralist hoot factor here so smooth that it hits like a ton of silk, but theres enough killbilly undertow to keep everyone standing nervously around that jug of magic moonshine" - Feeding Tube.

"Released in foreshortened single LP format back in 2010, the new edition of this masterpiece of Brattleboro form manipulation is allowed to breathe across two full long-players, and were all a lot better off for it. Allowed to sprawl across a couple of albums, a booklet of text and a download card of yet another album, Happy Jawbone Family Band achieve a rare freedom here, assembling a complete imaginary universe that combines surrealist wordplay with woozy Dunedin-style form-grabs. Composed of seven (or so) people (it changes with the weather), the band seems capable of almost anything. At one moment they can be doing what sounds to be a flamenco version of the Germs "Lexicon Devil" then turn on a dime and resemble the Terminals doing one of their death-chug-sea chanteys. Its weird, this Brattleboro thing. All the bands there sound pretty different from one another, but they all sound like they smoke cheeb as though it were legal. There is a stoner logic to Complete Hotel thats so damn wonderful itll just about suck yr clothes off. As was demonstrated to the world on their Mexican Summer comp (which was in print for what? three hours?) HJFB put songs together in a way that pleases them, and damn the torpedoes. You can hear traces of absolutely anything inside their sound -- Four Seasons, Van Dyke Parks, Dave Davies, Plagal Grind -- but their mutational heat is so heavy, after youve dug a few notes you realize it could never be anyone but them. Complete Hotel Double Tragedy is the first time HJFB have gotten a chance to expand in all directions at the same time. And it is so cool, youll grow a new tit. We promise! Edition of 600. Housed in a gatefold sleeve with a 32-page booklet." -Feeding Tube.

"U.Ks Happy Refugees never fit in with the scene of early 80s British pop music and they knew it. They knew it when they wrote "as far as music is concerned it is almost an overwhelming embarrassment to be associated with it in any way"� on the back sleeve of their first record. They knew it when they said "we play with a total disregard to a record buying public"� in one of their rare appearances in the press. In the liner notes to this compilation they acknowledge their self-fulfilling prophecy, "We received little recognition and we were reticent to try and find it. Enthusiasm was vulgar to some extent, the band seemed to sit outside everything else that was going on, which of course is a good thing." The music they wrote and self-released can only be described as rock-and-roll. They liked Iggy and the Stooges and John Cale. They liked Richard Hell and the Fall. It was acceptable to like Joy Division, "but slavish enthusiasm was considered spooky and weird." What they hated was heavy metal, goths, "long songs played in strange time signatures by fey bands with long hair" and all the bland music as the post-punk scene gave way to fashion bands aiming for the charts. That first record sleeve made their intentions clear; "I hope Happy Refugees can breathe a breath of fresh air with this record, not just because of the songs but also because it is no way produced with the infatuation of becoming a pop-star."� They wrote songs that were personal and honest. Production and musical chops were rough around the edges, but with 6 members at times, they had a full and layered sound. Scratchy guitars and incessant bass buoyed by a pounding piano created a post-punk jangle meets wall of sound bed for intensely raw songs about lost relationships and lost loved-ones. No matter how abrasive the sound gets, every song is filled with catchy and heartfelt hooks.
Its hard to understand why a band this good didnt find a home on Rough Trade or the like. A few years earlier perhaps theyd fit in better with the great DIY bands like Desperate Bicycles and Swell Maps (not exactly rock stars themselves). A few years later they mightve been C86 superstars. As it was, they slipped through the new pop era with only a self-released 7"� and a mini LP to their name, and into cult legend.
Return to Last Chance Saloon contains both the Last Chance Saloon mini-LP and the Warehouse Sound single as well as 3 unreleased demo recordings. This compilation also features a 16 page booklet and a download card including the LP and 7 alternate versions." - Acute.

"Their 1968 first classic album (originally on Minit) is something of an electric mayhem and freeform freakout. Art students/designers Michael English and Nigel Weymouth, whose striking graphics were seen on many bright and trippy posters for psychedelic clubs like the Ufo and Middle Earth in London, were the creative talent behind this band along with DJ and manager Guy Stevens. Not far from what the Godz were creating in NYC, an underrated document of its time. A band like this, incorporating flower power, love and peace, acid and psychedelic rock lifestyle, tainted with freak out, drop out, hippy and underground trends, could not have existed in any other era than the late sixties. The Heavy Metal Kids, the alter ego of the proto-Spooky Tooth group Art (comprised of Mike Harrison, Greg Ridley, Mike Kellie and Luther Grosvenor) appeared backing. But who was The Human Host? Original artwork." - Akarma. CD version also available.

"Their 1968 first classic album (originally on Minit) is something of an electric mayhem and freeform freakout. Art students/designers Michael English and Nigel Weymouth, whose striking graphics were seen on many bright and trippy posters for psychedelic clubs like the Ufo and Middle Earth in London, were the creative talent behind this band along with DJ and manager Guy Stevens. Not far from what the Godz were creating in NYC, an underrated document of its time."

"This expansive LP from Pittsburgh mainstays HARANGUE is a dreamwalk through the minds of its makers, replete with unexpected vistas from this quartet of piano, guitar, bass and drums. Opening with the taut bounce of "Wisteria," the band jumps off with brisk melancholy, weaving and unraveling the layers and hooks of this standout track. Wisteria is a defined aesthetic statement, the sound is fraught with false nostalgia for nature, for simpler times.
"Uniformly Chaotic" turns on dimes, steadily driving through flowing melodies and subtly continual dynamic shifts. Harangues energetic piano and rhythm section pound while the guitar snakes in and out of contrapuntal bliss, hissing out reverb and fuzz like the Kinks Dave Davies, and countered with desperate lyrical themes suggesting Street Hassle-era Lou Reed.
Side B continues Harangues sojourn with "The Valley," an epic trip of yearning through noir-ish shadows yielding to brilliant glimpses of sunlight through spring-reverb guitar texture and earth-rumbling, feedback-laden solos.
The LPs closer "Whitewashed Wall" rides through the end of nights tunnel, using negative space like a magic marker. Talking deliverance and sounding dark before sunrise, the song sways between half-tempo slow dance and full-on haunt before the backbeat swings and ascends with a bubbling line of guitar triplets that bloom into grand sonic swaths--triumphant, immersive, nearly decadent, harkening back to an imaginary jam between George Gershwin and Pink Floyd in 75.
Harangues lyrics sketch images of uncertain futures and abandon--a personal search for clarity, perhaps. But the album as a whole should end that search; it is a gem shining amidst static and snow." -Chicago Independent.

"Unknown to most 60s/70s collectors until its discovery a few years ago, this is the beyond rare second album released by loner/downer folk legend Dave Bixby, recorded around 1969, the same year as his first one, the now-famous Ode To Quetzalcoatl. Musically, Second Coming is equally as good and very similar to the first one, but this time the recording took place in a professional studio, so the sound is improved. Bixby is joined by Brian MacInness on guitar, Sandy Johnson on vocals and Don DeGraaf on bass and production duties. Don was in fact leader of the, in the end, destructive religious cult known as "The Group" or "The Movement," of which Bixby and Brian were part of. The sound is more up-front and the songs are slightly optimistic compared to the ones on Ode To Quetzalcoatl, and theres plenty of acoustic 12-string raga guitars and harmony male/female vocals. The lyrics deal with cosmic imagery, psychedelics and religious/biblical references, but this goes much deeper than any Xian record youve ever heard -- titles such as "Cosmic Energy," "Time To Clear Your Mind," "Rainbow," and "Circus World" point towards some sort of New Age/post-Revelations utopian consciousness. Reissued for the first time under license from Dave Bixby himself, and carefully remastered from a clean vinyl (no master tapes exist) at Shadoks Music Studios. Includes an insert with extensive and detailed liner notes by Matvei Procak -- the guy who found Bixby in 2006 -- plus some rare pictures. Also includes a free mp3 download code." - Guerssen.

"Previously released on vinyl by Guerssen Records, now available on CD. Unknown to most 60s/70s collectors until its discovery a few years ago, this is the beyond rare second album released by loner/downer folk legend Dave Bixby, recorded around 1969, the same year as his first one, the now-famous Ode To Quetzalcoatl. Musically, Second Coming is equally as good and very similar to the first one, but this time the recording took place in a professional studio, so the sound is improved. Bixby is joined by Brian MacInness on guitar, Sandy Johnson on vocals and Don DeGraaf on bass and production duties. Don was in fact leader of the, in the end, destructive religious cult known as "The Group" or "The Movement," of which Bixby and Brian were part of. The sound is more up-front and the songs are slightly optimistic compared to the ones on Ode To Quetzalcoatl, and theres plenty of acoustic 12-string raga guitars and harmony male/female vocals. The lyrics deal with cosmic imagery, psychedelics and religious/biblical references, but this goes much deeper than any Xian record youve ever heard -- titles such as "Cosmic Energy," "Time To Clear Your Mind," "Rainbow," and "Circus World" point towards some sort of New Age/post-Revelations utopian consciousness. Reissued for the first time under license from Dave Bixby himself, and carefully remastered from a clean vinyl (no master tapes exist) at Shadoks Music Studios. Includes an insert with extensive and detailed liner notes by Matvei Procak -- the guy who found Bixby in 2006 -- plus some rare pictures." -Guerssen

"Minimal Wave is proud to present our 35th release, a full length LP release entitled “Clean Tables Have To Be Burnt” by UK legends Hard Corps, a band weve been long time admirers of. Aside from their releases on Survival and Polydor, Hard Corps gained some notoriety for their unique and uncompromising live shows throughout the 1980s. It was the juxtaposition between their hard edged industrial sound and the fragile and enigmatic vocals of French frontwoman Regine Fetet that created an unusual dichotomy, lending to their strength of character as a band and thus allowing them to stand out from the rest.
A 12” white label, released by Survival Records, containing the hammering rhythmic attack of Dirty and the softer, melodic, pulse of Respirer (To Breathe) was circulated around Londons dance floors. In no time a wave of attention hit them and throughout 1984 and into 1985 they dominated the independent pop charts.
John Peel championed them on his infamous late night Radio One show and they headlined at his ICA Rock Week in the Mall, London. By 1985 Hard Corps had signed with major label giants Polydor. This enabled the band to work with a couple of their favoured and respected producers, Martin Rushent (known mostly for his exceptional work with the Human League) and Depeche Mode producer and Mute Records supremo, Daniel Miller. These sessions provided the public with just one single due to the labels non-promotion, Je Suis Passee, a sweeping arrangement of breathtaking beauty, combining pumping sequences and sheer power of emotion of Regines voice.
The band went on a major tour with The Cure in 1985 and Depeche Mode in 1988, before finally disintegrating.
Now for the first time ever, rare unreleased versions of Hard Corps tracks from the 1980s have been remastered and are being made available. “Clean Tables Have To Be Burnt” is a 180 gram vinyl pressing limited to 999 copies with double sided inner sleeve featuring a beautiful group shot and all of Regines lyrics." -Minimal Wave.

"Hard Corps were true innovators of the 1980s UK synthpop scene. Apart from their releases on Survival and Polydor, Hard Corps gained some notoriety for their unique and uncompromising live shows throughout the 1980s. It was the juxtaposition between their hard edged industrial sound and the fragile and enigmatic vocals of French front woman Regine Fetet that created an unusual dichotomy, lending to their strength of character as a band and thus allowing them to stand out from the rest. As a follow up to Clean Tables Have to Be Burnt (2012),Rarities compiles the outtakes and demos that were left behind. Tracks that truly never saw the light of day." - Minimal Wave.

"Hard Corps were true innovators of the 1980s UK synthpop scene. Apart from their releases on Survival and Polydor, Hard Corps gained some notoriety for their unique and uncompromising live shows throughout the 1980s. It was the juxtaposition between their hard edged industrial sound and the fragile and enigmatic vocals of French front woman Regine Fetet that created an unusual dichotomy, lending to their strength of character as a band and thus allowing them to stand out from the rest. As a follow up to Clean Tables Have to Be Burnt (2012), Rarities compiles the outtakes and demos that were left behind. Tracks that truly never saw the light of day. They have finally been remastered and will be released as a cassette and 12" vinyl (edition of 300). The vinyl is pressed on 180 gram clear vinyl, accompanied by a numbered 8" x 10" photographic print of the band." - Minimal Wave.

"From Turkey, 1978. Edition of 500 numbered LPs, glossy heavy sleeve, 180 gram pressing, with insert. "This first album of the Turkish band Hardal (mustard) with the title Nasil? Ze Raman? (where from? where to?) was recorded in Turkey in 1979 by Sükrü Yüksel (guitar), Aydin Sencan (bass), Cahit Kukul (guitar) and Sedat Avci (drums). The band was only known by a very small insider-group, but those fans just adored Hardal. The secret of Hardals small popularity is that in 1979 the Turkish rock scene was comatose. Cem Karaca left to Germany, Erkin Koray moved to Canada, Edip Akbayram got stuck because of his political ambitions. Only Baris Mancho was still on the road. To start a new band was tough in Turkey. Hardal also recorded 2 albums later. The music is the best Turkish progressive underground you can think of. Filled with guitars, synth sounds, great Eastern vibe vocals and harmonies, pumping rhythms. As good as the best Koray tracks for sure. This album was never reissued before, so we are sort of proud to present it to most people for the first time." -Shadoks

“HARIBO is Raul de Nieves, Jessie Stead, and Nathan Whipple, three NYC freaks who create “a kind of surrealism" specific to their twisted circus vision. This mix careens between calliope rhythms and Dadamage, hinting at their live soundriot, a singular experience that can only be relived if you are reborn as a balloon animal in the Parisian spring of 1917. Compounded by the infusion of collaged audio sourced from VINE, this tape draws a thick line of lipstick in the sand between the classic strategy of avant-punk cabaret of Die Todliche Doris and the tumbling spokenword of Disband. HARIBO has been bringing elite street entertainment to the backrooms of Sweden and the basements of SoHo since 2010, and WILD FLESH PRODUCTIONS is pleased to present one of their legendary show-only mixes. Limited to 50 copies.” - Cammisa Buerhaus, 2013.

"A reissue of the 1978 LP by this wild and raw New York City punk-wave-glam outfit fronted by exotic dancer-turned-singer/bassist Gina Harlow, this documents what was apparently only the bands 4th actual gig, playing high-energy 70s-style primitive punk with lots of social, political and religious satire. The trio gigged around town at all the ususal punk venues (CBGBs, Mudd Club, Hurrahs, Trax, and of course Maxs) until Gina left in 1980. Very good sound quality, black & white artwork with lots of photos of Gina (of course) plus a bunch of liner notes. Limited pressing." - Rave Up.

"Recorded to Tascam 4-track and to computer in Hasenheide Park and Elsenstr. 74, Berlin. Second floor, ring carlos. Guitar, singing, talking.
Harmony Molina, Chilean reality star, poolside voyeur, connoisseur of alternative womens haircuts. was very focused, says Harmony about the sessions on this tape.
Half of this is actual music guitar leads, choruses, bridges. The other half is gossip, shit talk, slices of Harmonys reality filtered through shame and conceit, triumph and heartbreak.
Says Harmony: Im very grateful of the mistake I did, so i can discover day by day, what kind of artist i am." - Goaty Tapes.

"The third in composer and artist Brian Harnettys series of recording projects stemming from the Berea College Appalachian Sound Archives, Rawhead & Bloodybones combines samples of music and folk tales with live instruments. The historic archival recordings of children recounting folk tales were made by Leonard Roberts in the 1940s and 50s. The combination of the childrens youthful voices and the often gruesome stories they tell offers a striking and dramatic contrast. These recordings, along with other archival samples from Berea, are woven into a larger musical world, with additional instrumental parts added as a counterpoint to the stories. Working closely with archivists, historians, musicians, and the families of those sampled, Rawhead & Bloodybones respectfully re-contextualizes traditional music and folk tales into a unique, beautiful, playful, and haunting whole. Six-panel foldout case." - Dust-to-Digital.

"When BRIAN HARNETTY was commissioned to work with the Sun Ra/El Saturn archives in Chicago, his goal was to develop a series of conversations with SUN RA through the many recordings in the collection. On one level, the resulting pieces combine these diverse materials to create a sonic collage. On another level, Harnetty uses these elements to reveal multi-layered stories, drawing out the many connections and complexities of the Sun Ra archives. For this 7-inch single, entitled "The Sociophonic Key," Harnetty has created a stand-alone work drawn from "The Star Faced One," a 2010 sound installation at the Experimental Sound Studio in Chicago. Despite the variety of samples used many subtle relationships are heard--both literal and fantastic--from Sun Ra rehearsing a group of children fading into an answering machine, to the intensity of a gospel preacher alongside the Arkestras invitation to join them in outer space. Edition of 500 copies." -Scioto.

"Twig Harper has been a force in the noise/experimental scene since the mid 90s with his group Nautical Almanac, touring worldwide and releasing recordings on Hanson, Load, and Heresee. He also runs Tarantula Hill in Baltimore - a space that includes a performance area, recording studio, esoteric library, and rooftop beehives & gardens. Daniel Higgs is best known for his work as the lyricist and frontman of Lungfish, whose work on Dischord Records has spanned 3 decades. He is also a very prolific solo artist with works on Thrill Jockey, Holy Mountain, Northern Liberties, Open Mouth, and Ideal Recordings. Clairaudience Fellowship is released on LP-only in an edition of 1,000 copies housed in full-color jackets with a coupon for DRM-free MP3 download. The download coupon includes one additional bonus track that is not on the LP." - Thrill Jockey.

"What we have here are songs Arthur Lee Harper recorded during the time of his 2 albums Dreams and Imagination and Love is the Revolution. These songs are on neither album. Imagine the best you know of him. Sadly, Arthur Lee Harper died in 2002 the night after his wife was killed in a car accident. What you hear on this album is his legacy, authorized by his children.Lp comes in ULTRA THICK DELUXE COVER!" - RD.

2006 release. "40+ mins of music on LP record with screenprinted cover in a numbered limited edition of 200." - Here See. Third entry in this series (volumes one and two on White Tapes/Audiobot and American Tapes/Gods of Tundra, respectively.)

"Planam presents a record by performer and electronic sound artist Twig Harper. In this beginning the year might or might not be 2011 and the whole practice could still be in process now. It is doubtful if this sonic process would have ever evolved beyond the animal stage suspended as it is in a fragile balance between sounding familiar to the nervous system and unfamiliar and alien. This process is wholly dependent upon the integrity of the system and its necessary environment -- an extermination program created by working multiple channels, reducing mixes, removing sections, adding segments, layering inversions under continual growths and constant changes, until we can no longer recognize the original source or process itself. A very limited unit of sound and image biologically activated to act as communicable dizziness existing in the past present and future when listening to it. Lets turn it on. LP record and silkscreened sleeve are the access, your playback a new "reality." Edition of 200 copies which will turn your eyes and ears inside-out, upwards, backwards and in all directions." - Planam.

"Small Path Music was shot on location in Southeast Asia in 2010 with Laurent Jeanneau on his relentless quest to capture audio recordings of vanishing indigenous music from ethnic groups of this vast region. The documentary (shot over a period of eight months) takes us travelling with Laurent in the field through remote northern Laos and Yunnan Province of Southwest China and invites us into the world of the folk artists he explores. From shamanic rituals to love songs, historical epics to lamentations, his microphones document what he discovers there. Laurent tells us of the state he finds these artists in today, how this music speaks to him, and we learn what drives the urgency of his work. As perhaps the most committed and accomplished procurer of rare and threatened music from this part of the world, Laurent recounts experiences from a decade of recording in Cambodia, Laos, Vietnam, and China, and we gauge his perspective on the musical traditions of the area. We see how he relates to them and how his work has led his life in new directions. Along this journey he met his wife, Tanding and together they established a recording label (Kink Gong) to release their field recordings. Sublime Frequencies is pleased to present this unique story shot by filmmaker David Harris about the man behind the Ethnic Minority Music album series. 56 minutes, 16:9 NTSC DVD all regions, English with Mandarin subtitles." - Sublime Frequencies.

"Divide is the long-awaited book of drawings and an accompanying video by Liz Harris, aka Grouper. Harris visual work runs in parallel to her music as Grouper, and often overlaps into the same vision. Divide maps out dense organic patterns, passages filled to the edges with overgrowth and fractured geometry. Minimal strokes are taken to maximal repetitions to form complex mazes in high contrast. Other images float in space like hex symbols from prehistory, portals to some other place & time. The accompanying video (with soundtrack) of black & white Rorschach voids should be familiar to anyone who has seen a recent Grouper show. Book is 7" by 7", 60 pages, soft cover with a color cover & black and white images. DVDR is all regions. Edition of 500 copies only"

"Italians may do it better -- ice cream, genuine leather, synth splatter -- but everythings still bigger in Texas. Like this X Large redux from Austins X Harris. He calls side A the high heels remix which is chop-shop talk for shoegaze if yr shoes happen to be red patent pumps. Less gore than before, more vast unknown than hes ever shown, side B soars like the flight of a DJ navigator whos recently returned home to realize hes left the 80s far behind, its almost 2012, and everyone he loves has aged and moved on without him. But the force is still strong with this one. If Xander Harris had a hammer, hed beat down John Carpenters door, turn that Carpenteria into a Danceteria, and make that grave-waver Sweatt. Finally, an escape from New York." -100% Silk

"Debut full-length by this classically trained Austin synth/drum-pad whiz rips like an 80s horror-stalker VHS take on Umbertos 70s giallo/Goblin-isms. Creepy neo-Carpenter action in the best possible vein.." -Not Not Fun

"First reissue of Kevin Harrisons Spectro Verdu Est Mort?, originally released on cassette in 1981. Digitally remastered by John A. Rivers in a beautiful widescreen edition, repackaged and wrapped in a triple-fold card sleeve with a 12-page booklet. Thirty short tracks of electronic textures, kind of a condensed pre-Orb/Aphex Twins Ambient Works with a Lee Perry/Augustus Pablo/Fripp & Eno sonic influence." - Glass Redux.

Limited edition of 444. Includes hand-numbered certificate. "Tape Recordings 1975-1985 features work from Kevin Harrison. Kevin Harrisons music is guitar orientated. But treated and mutated. Harrison is no ordinary guitar hero: his playing shimmers like light reflected on water. His work is reminiscent of a cross between Brian Eno, Michael Rother and Eric Random. While in the ambient field, it balances a lot more in the direction of contemporary electronics and a heavier sound. Nevertheless, his influences are very clear. A minimal psychedelicist at heart, Harrisons is the music of the hypnotic state, of dream and trance. Its core is an obvious affection for the work of Terry Riley, Philip Glass, Kraftwerk and The Normal tempered with an awareness of oriental rhythms and harmonies which give the elemental electronics a warmer, human touch. With Harrisons deft handling his squeaks and buzzes, his synthesized loop tables and his drum machines "Inscrutably Obvious" seems like it will prove horribly inaccessible. But once properly investigated it offers a sparklingly seductive selection of tracks wholeheartedly recommended to anybody looking for entertainment from the avant-garde. Chas de Whalley on Harrison: "No guitar heroes next cause its Kevin Harrison. I could listen to his excellent stuff all night. What he does is guitar improvisations with the guitar put through lots of reel-to-reel echo units and other such things. This means he only has to fall over his guitar and it sounds good good good good. The result is similar to Fripp/Eno collaborations with layers of rejected guitar sounds. It sounds much better than I can be bothered to write it, if youre curious go and see him do his act." - Vinyl-On-Demand.

"Editions Mego is happy to announce a vinyl reissue of the long out-of-print and impossibly rare final Harry Pussy album, the monumental Lets Build a Pussy. Originally released in 1998 after the band broke up, this has always been an elusive release. "You cannot buy this anywhere and you will never find one!!!" was what one writer exclaimed. Consisting of an hour-long piece of Bill Orcutt time-stretching a second of Adris Hoyos voice into a slow, shifting drone. A piece of music you will love or hate, with not much room for anything in between. As Alan Licht states in his liner notes: "Lets Build a Pussy is a requiem, of sorts; Adris opening one-second vocal noise has been variously termed a yelp or a shout, but I prefer to think of it as Bill and Adris mutual last gasp, a band death-rattle. Put in a computer program, Adris protracted utterance becomes, almost literally, the ghost in the machine. Lets Build... is something of a late 90s audio inheritor of 19th-century spirit photography. Paradoxically functioning as both Harry Pussys curtain call and final act, Lets Build a Pussy is an altogether unique past-tense statement from a band whose members were not immediately going on to solo careers or to other bands." Bill Orcutt (Mouse), Adris Hoyos (Mouth). Available only in this format. Cut by Rashad Becker at Dubplates and Mastering, Berlin, June 2012. Housed in a gatefold sleeve." -Editions Mego.

"..high quality
cdr with handmade cover. recorded during their last tour, and it is really ferocious.
recorded very raw on cassette, some awesome gtr/drum
fuckery going on." - Sister Skull. Live 4/5/97 at the Blue Flamingo, Austin , TX.

"Gatefold double LP compiled from hours of early walkman recordings documenting the duo of Bill Orcutt and Adris Hoyos. Recorded 1992-93, One Plus One combines the best of key early releases (the Vigilance cassette, the Planet & 2nd Esync singles) with 40 minutes of unreleased contemporaneous material" - Palilalia

"Harry Pussy emerged out of the Florida swamps in 1993. Formed by Adris Hoyos and Bill Orcutt, the duo became legendary for their volatile live shows, which often devolved into violent clashes with audience members. Obliterating the lines between hardcore, noise and free jazz, the unclassifiable Harry Pussy were at once all of these things and none of them. Originally released on Siltbreeze, their self-titled debut album reveals an antagonistic and visceral approach to music: Hoyos self-taught, wild-style drums and shrouded screams tangling with Orcutts high-tension blues guitar. As David Keenan writes in the liner notes, “Harry Pussy played at such a heightened speed-of-thought climactic future- primitive peak that they outstripped technique so completely that people thought they couldnt actually play at all.” From the opening blasts of “Youth Problem” to the spasmodic, electro-convulsive take on Kraftwerks “Showroom Dummies,” Harry Pussy is an absurd and devastating statement. Twenty-plus years later, rock n rolls collective ears are still ringing. This long out-of-print vinyl release is recommended for fans of The Dead C, Royal Trux and Mars." - Superior Viaduct.

"Scattered, smothered, covered, chunked, topped, diced and peppered American free rock from a Clinton-era three piece. This Miami trio left rug burn on modern music in the 90s. Here a deluxe remastering of their out of print releases with a swank digipak filled with sweaty photos & heart-racing energy sounds. Complies the long out of print self released tour 12-inch, the Cherry Smash live 10-inch, Live at Salon Zwerge 12-inch, Pelt & Frosty spilt 7-inches and the De Stilj 7-inches." -Load

Self-released LP by of solo saxophone improvisations in the vein of Kaoru Abe. (See the live video below (not on LP)). Harutakas first full-length record following some limited Japanese releases (a couple of which we still have for sale) and a CDR from Volcanic Tongue.
Limited to 100 copies, with multiple inserts and vellum obis.

Harutakas first solo release from 2005. "Mochizuki Harutaka is a Tokyo-based "next-wave" multi-instrumentalist who combines blasted vocals with solo saxophone, bells, guitar and piano. His haunted vocal style is pitched somewhere between Jandek, Keiji Haino and a death-decadent torch singer, while his saxophone improvisations orbit the same lonely satellites as solo thinkers like Masayoshi Urabe, Arthur Doyle, Anthony Braxton and Kaoru Abe. Nerve-flaying blues from a player who has been there and back." -Le Weekend Festival.

Numbered edition of 100. Similarly handsome package to Harutakas recent solo LP and collaborative release with Tomoyuki Aoki of Up-Tight: vellum obi, metallic inks, etc. Kondo has previous releases on PSF, solo and with his group EXIAS-J (who have a number of records on Bishop and one on Siwa).

2013 repress."2001 CD reissue of this psychedelic underground masterpiece from 1970, with a 12-page booklet, including English liner notes and photos. Includes one bonus track not found on the original LP. Recorded 1968-69, digitally remastered in 2001. The lone album by this post-International Harvester group, originally issued in 1970, once again led by the academic tape-composer turned radical folkie psychedelicist Bo Anders Persson. Accompanied by an able body of co-conspirators including Thomas Gartz (drummer/glue of the Mecki Mark Men, whose LPs on the Limelight label are not to be missed), Torbjörn Abelli, and lets not forget Ulla on small cymbals. Thunder-plod of magnificent tidal proportions, recalling the burnt splendor of the Träd Gräs och Stenar Live Gardet 1970 set - TGOS in fact were nothing more than a stripped down quartet version of Harvester!" - Silence.

"Hiroshi Hasegawas musical roots go back to the late 80ies, where he started as a pioneer under the Japanese Experimental Electronic artists. Hasegawa is the man behind C.C.C.C., ASTRO, MORTAL VISION, TRANCE and other projects. he released also several works together with Akifumi Nakajima from AUBE. Ascension No.999 is his first album under his real name (besides a split LP from 1988) and its also his very first Ultra-Noise work! the sounds vary from experimental cut-up noise, over dronning sound-walls, to screaming high frequency manipulations. some passages even remind to early S䫶h/Panasonic vinyls. cover-design by Yoshihiro Nakano. 50 min. / 2 tracks"- Steinklang.

"This recording is the result of an unedited improvised live performance in Tokyo, Japan. It is not a perfect recording. But, this material is document." - Haang Niap. Self-released cassette from these two members of Kito-Mizukumi Rouber, Keiji Hainos Nijiumu project, etc. First in the "Rare Air Bootlegs" series.

"Debut album by a new improvisation group consisting of Hirotomo Hasegawa and Shizuo Uchida. Both have a leather-bound folder full of underground back-story -- Hasegawa was the lead singer of seminal early eighties Japanese punk/hardcore group Aburadako (Greasy Octopus), while Uchida was a long-term member of Hainos Nijiumu medieval dream-drone unit. The groups instrumentation is highly unorthodox, placing Uchidas mysterious bass textures against the wet skirl of Hasegawas hichiriki, an ancient double-reed wind instrument whose haunting upper register tones are an unmistakable feature of gagaku court music. Hasegawa brings a bucketful of phlegm to his approach to the instrument, out-honking Zorns duckcall work by a marshy mile. Uchida also contributes some striking ichigen (single-string) koto. Deliriously psychedelic, fully immersive drone and oriental wind works in the grand tradition of Taj Mahal Travellers, Nijiumu, Marginal Consort and too few others." - Alan Cummings.

Artist: HASEGAWA-SHIZUO
Title: I Know A Chord Buried Into The Ground And A Tongue On A Cloud
Format: CD
Label: Haang Niap
Country: Japan
Price: $20.00

"Hasegawa-Shizuo is the duo of Hirotomo Hasegawa (Aburadako,Kito-mizukumi rouber) and Shizuo Uchida(Kito-mizukumi rouber, ex Shokubaiya,ex nijium). Central to our sound is Hasegawas hichiriki (a flute used in gagaku) and Uchidas bass. Our performances are all real-time improvisations with no-overdubbing. "I know a chord buried into the ground and a tongue on a cloud" is our third album - previous releases were on PSF and Tiliqua. Its a live-in-the-studio improvisation. Factory-pressed CD in a gatefold mini-LP style card sleeve." - Hasegawa-Shizuo

"Ltd edition LP of their 2nd release following their debute on PSF. Killer release if I say so myself. Imagine La Monte Young crossbreeding with Takayanagi Masayuki. The disc is made up out of 2 sidelong tracks that entwine around a minimal music aesthetic junked up with an improvisational free jazz like exploratory approach. The panoramic sonic outcome floats somewhere between the controlled burn of a detuned jet engine and the boundless fury of nomadic hordes on a rampage through the open Mongolian plains. Sucking in influences as wide ranging as Takayanagi, La Monte Young, esoteric Buddhist ritualistic mantras, Gagaku and a free-form psychedelic aesthetic, Hasegawa Shizuo succeeds brilliantly in resonating out a Dionysian vibration of harmonical tones pregnant with a pulsating intensity. Without a doubt one of the most interesting and intuitive sounds graced with a shamanistic sense of poetry to emerge out of deep subteranean belly of Tokyo. Still undetected but sure to blow headz worldwide. One time only edition of 400 copies housed in thicker than life jacket and high quality Japan pressed vinyl. LP only." - Tiliqua.

"LP version in deluxe silver foil sleeve. Limited edition of 499. Includes poster. The long-awaited debut album from Hashish. Top-class psychedelia, taking the genre to a new level with a sophisticated approach to Afro-funk grooves accompanied by dreamy, playful melodies that range through a spectrum of Scandinavian occult psychedelia, minimal synth, surreal electronic soul disco, and rare groove. Some have described Hashish as a project that picks up what Goat started. Welcome to tomorrow. The sounds transport the listener into a forgotten world where the future looks different from what it became. On his soft, subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun, raining sacred melodies on the hearts and minds of humanity and bestowing desperate loves and yearnings with songs of sainthood and madness. Transient temples of the flesh, laughing at death, clothe our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire. Upon release the album sky rocketed straight into #1 on the official Swedish vinyl chart." - Subliminal Sounds.

"Debut release from all-star Swedish band Hashish, with amazing sounds to transport you into a forgotten world where the future looked different from what it became. Psychedelic rock mixed with Moog afro-funk moves and vintage synthesizers. Take off to another world with Hashish! Limited edition of 300 copies." - Subliminal Sounds.

"Third volume in this popular series of solo electric guitar improvisations by Wooden Wand in his �??Hassara�?� guise. For this one, Hassara is back to exclusively playing guitar (no vocals, harmonica, bass, etc as on Volume 2), with a heavier emphasis on drone. The trademark boogie of previous releases is still intact �?? in fact, the brief �??Zodiac Blues (w/ intro)�?� is the ruling-est stoned blues jam Wand has ever committed to tape �?? but for the most part, Volume 3 chooses to explore the dark side, with the two part �??Road to Nowhere�?� (a reference to the Carole King song of the same name?) taking up the bulk of the disc. A friend said: �??Sounds like brothers been sniffing around for affordable real estate in New Zealand.�?� WhatEVER, chump." - Hassara.

"Second volume in this popular series showcasing the electric guitar-based music of Wooden Wand in his �??Hassara�?� guise. While the premiere volume was based conceptually around the Tarot and numerology, this latest installment deals with themes of displacement and alienation, and adds the occasional vocals, harmonica, drums and bass to the mix. Though defiantly repetitive, the music of the Backyard series is not what youd call �??drone music - this is seriously broken blues captured under the spell of the Private Press, and recorded, as per tradition, at the apex of High. Rumors that the entirety of this CD was recorded while other records played on headphones are entirely unsubstantiated at this time, but wholly probable, so try to spot the Fraction licks! Maybe... Strictly limited to 99 copies, with a full color cover."

"First reissue of Hastings Of Malawis classic masterpiece Vibrant Stapler Obscures Characteristic Growth, originally released on the Papal Products label in 1981. Hastings Of Malawi were Heman Pathak, David Hodes and John Grieve. They recorded Vibrant Stapler Obscures Characteristic Growth in one night in 1981 with no plan and no idea of what they were doing. They played drums, clarinet, synthesizer and piano but also made use of things that they found lying around the studio - old records, cook books, telephone directories and a telephone. The recordings were played down the phone to randomly dialed numbers with the reactions added to the recording. All three had been involved in the recording of the first Nurse With Wound album Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella (1979) and had contributed metal scrapings, piano, effects, clarinet and guitar during the session. The star of the record is Pat Simmons who was the voice of the UK speaking clock between 1963 and 1984. In his book Lipstick Traces (1989) writer Greil Marcus seeks to draw a line from Dada through the Situationist International to punk rock. If this line exists, then Vibrant Stapler Obscures Characteristic Growth sits on the end of it. The only review that the album received was from Steve Stapleton who suggested that "nobody should miss this vinyl disaster" - good or bad are not concepts that can be applied to this recording. The record stands firmly in opposition to the now all pervading concepts of commercialization, celebrity culture and the commodification of creative activity. Originally 1000 copies were pressed on orange/red vinyl. 120 copies were sold through Rough Trade and Virgin Records. 800 copies were bought and later destroyed by the United Dairies label, adding to the elusiveness of this record. This reissue is on red vinyl, just like the original pressing. File under: dada, underground, post-industrial, concrete music, DIY, punk." - Sub Rosa.

"Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit is the long-awaited collaboration from two of the worlds finest purveyors of noise, electroacoustics, and top-shelf audio mayhem. Having met at the legendary Tokyo venue 20000 Volts in 1997, Russell Haswell and Pain Jerk (Kohei Gomi) stayed in touch with the intent to collaborate at some point in the future. This was eventually realized in 2012 when they were offered a gig to play together at the Rammel Club in Nottingham. Prior to the show they exchanged files of solo recordings, as a means of forming a basis for what was initially conceived as an "extreme duet tag mass attack." It was here that the foundation was laid for the epic extreme end-result we now encounter. The Nottingham performance was recorded and both parties took away the results in addition to their solo recordings to re-edit and re-send, back and forth, for two years, re-editing and re-contextualizing these original sounds. The results of this extended collaboration is a punk academic collision which utilizes advanced computer music techniques and analog/digital modular synthesizer splurge, along with the more basic and belligerent frequencies found in distortion and feedback. This can also be read as a study of editing in all forms; hyper-editing, editing in pop music, editing in dance culture, electro-acoustic editing, the editing techniques used in musique concrète, editing used in film and advertising along with the notion of gaps -- the audible and inaudible. A blistering 2CD collision of transformation, technique, ideas and form which resides equally in the advanced fields of electroacoustic study and the high energy freeform noise from which both practitioners sprung." - Editions Mego.

“As Sure as Night Follows Day is Russell Haswells landmark second album for the London-based Diagonal label. Consolidating a quarter-century at the forefront of extreme computer music, techno, and death metal in 19 tracks and 49 minutes, its Haswells most coherent yet varied burst of activity to date, zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the floor. The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences; one can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventrys Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early-90s phase. Fortunately for the ravers, this album includes some of Haswells most direct dancefloor attacks to date. "HARDWAX FLASHBACK," for instance, finds him in pure tekno panik mode -- a four-to-the-floor wrecking-ball groove that someone, somewhere, may even be able to mix. "GAS ATTACK" distils his penchant for all things Belgium into a vicious strain of new beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drexciya on "Underwater Electronic Struggle" -- a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to “Wavejumper" in his phones -- before he does the salty freestyle electro flex ting on "Extended Industry Knowledge (for OSCAR)" while reminding his trusty apprentice Powell that he still has a lot to learn. Between these floor-flexers, one finds more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of "RAVE SPLURGE NOISE FM" or "Noise Rave," for instance, or the self-explanatory "Improvisation #1." "In the Air Today" investigates warehouse-ready electroacoustic percussion, while the chaotic clusters of "INTERLUDE" swarm and invade the senses with psychoacoustic incision. This is Diagonal and Russell at their most fucked up and fizzy, and an important reminder of the artists stream-of-consciousness genius -- and the pressing need for more chaos and unpredictability in electronic music today. Mastered and cut by Matt "The Alchemist" Colton at Alchemy. Soft-touch laminate sleeve design by Guy Featherstone.” - Diagonal.

"Editions Mego is happy to announce the release of Kanal GENDYN, a vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full-length release by the artists following their highly-acclaimed albums, Blackest Ever Black and UPIC Warp Tracks. In the late 90s/early 2000s, it became common for bands, or solo artists to perform live -- often alternative -- soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell and Florian Hecker chose to create a real-time soundtrack to an un-scored film, Kanal Video (1992, 60 min.) by the Swiss artist duo Peter Fischli & David Weiss. Core to Kanal GENDYN is Haswell & Heckers ongoing research on the legacies of polymath Iannis Xenakis (1922-2001) and in particular, his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates "sound out of nothing." In an interview with Peter Hoffmann, the artists recall: "This video, which consists of an hour-long ride through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects -- struck us both as an ideal piece to be projected in a nightclub or music venue with a GENDYN only performance. We found twisted relations with such an hour-long tunnel vision. Once with the seemingly endless amount of computer-generated video projections used as visuals accompanying raves and techno parties during the 1990s -- and also to the accounts of visual hallucinations induced by mescaline as described by Heinrich Klüver in the 1920s -- with the so-called form constants -- where he mentions amongst others, tunnel-like patterns. The particularities of GENDYN, with its ever-changing and meandering waveforms appeared to us as an ideal counterpart." Kanal GENDYN was performed on the occasion of the event "Musterraum 9. Dual Presentation -- Peter Fischli & David Weiss -- Russell Haswell & Florian Hecker" at Musterraum, Munich, 1/30/2004. Originally constructed as an experimental building, "Musterraum" -- German for "sample" or "reference room" -- was a freestanding cube with a base area of 10×12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne. Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12/B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, Kanal Video (1992, 60 min.) screened on three facing walls. Kanal GENDYN is released as a stereo vinyl LP + 4.0 DTS 24 Bit/48 KHz DVD (audio-only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30x30 cm 170 gram paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich. Its also worth noting that, with a running time of over an hour, this is one of the longest single LP releases you will come across. Cut by Rashad "The Master" Becker at Dubplates & Mastering, Berlin, September 2011." - Editions Mego.

"Hat City Intuitive have long been the mainstays of the Danbury, Connecticut free improvisation scene and, as such, are regal. Yet this crown of creative impulse and desire does not cloud their intention of celebrating the NEW. When they gather, and whoever they may invite into their high flying midst, the vibrations are a fresh fire and are wholly positive, forsaking the droll techniques of free jazz blather, and licking the under shine of night stars howling light into the black. This session has most recent member Gene Moore (guitar/reeds) showing up with his kid bro Thurston, who plugs into the nearest amp and is only too happy to just GO, as TM is a long-time fascinant of the Hat City Intuitive, having grown up in the same Nutmeg State environs just 30 some years prior. Compiled from hours and hours and hours of basement mind/spirit autumnal wine-soaked pot-smoked camaraderie, this recording is where the dirt meets the concrete and winks up to the forever sky." -Ecstatic Peace

"Music is liquid architecture; Architecture is frozen music." - Johann Wolfgang von Goethe.
"The relation of sound and architecture has been a recurring theme across the centuries. The earliest examples of sound design stem from the interaction of human voice and various architectural spaces used for worship and ritual. It is these sonic reflections on ritual that are at the root of the latest edition from Japanese ambient maestro Chihei Hatakeyama. Recorded over the period of five years, Mirage is a meditation on the phenomenology of music and architecture. During a field trip to Turkey, Hatakeyama became acutely aware of how architecture shapes sound and through doing so affects the very nature of musics resonance. This condition extends beyond the personal into the collective, creating a certain condition of aurality that operates at a societal level. Walking through the labyrinthian bazaars of Turkey, Hatakeyama took inspiration from the way sounds emerged and decayed within those spaces. Looking to replicate these experiences in the creation of the album, he developed a series of new processes and transformations that expanded his approach to textural music. Weaving in location recordings from these spaces, the record began to take on a hazy abstruse quality; the unfamiliar familiar. As the name suggests, Mirage is about the apparent phenomena that exists only in our perception. Like a strong memory, which can feel so very present yet remain intangible, Hatakeyamas music on Mirage maintains a lucid but utterly transcendent quality. Chihei Hatakeyama is a sound artist, an organizer and mastering engineer born in 1978. He lives in Tokyo. Originally a guitarist, his start in music came during his teen years playing in Tokyo metal bands. Gradually his focus shifted to more adventurous sounds and it was during this time he began to work more exclusively in a solo format. Hatakoeyama produces polychromatic, memory-evoking soundscapes with various recorded materials sourced from acoustic instruments such as guitars, vibraphone, and piano. His work is a meeting of the gestural language he has developed for his instruments and expansive processing via a variety of acoustic and digital sources." - Room40.

"an overlooked LP from 1980 by Alabama free music pioneers Hatcher and Nutt. best known as members of Ron Pates Debonairs and The Blue Denim Deals (the bands released on the first two Say Day-Bew LPs, with the Debonairs being included on the NURSE WITH WOUND list), these two started creating music together at least as far back as 1970. for this LP, the last on Say Day-Bew, they play piano, clavichord, harpichord, and Folgerphone (an instrument of their own design using an alto sax mouthpiece with copper tubing and a coffee can) in a very avant-garde style. in folder sleeve, with liner notes by Anden Houben and Davey Williams." - Eric Lanzilotta. Original, unplayed copies from 1980. Say Day-Bew also released the RON PATES DEBONIARS LP in 1975, which was reissued on the Alcohol Label in 2003, and the FRED LANE LP, reissued on Shimmy Disc in the late 80s.

"330 copies pressed. First official release from Hatefuck, wherein lies an embryonic Pink Reason. The Hatefuck crew (HFK) existed in the early 2000s, their legacy left in a number of legendary live shows and a handful of demo recordings, from which these tracks were decalcified. Rock N Roll Let Down contains three cuts of amphetamine hardcore. A side “When Time Takes Over” is a long rock-based tune that necessitated the 33RPM run time speed. The flip offers three faster cuts, from the high octane punk of “HWY 10” to the Stoogoid rumble of “Little Girls Make the World Go Round.” -Negative Guest List.

"Urashima present the first vinyl version of The Haterss Future Cheers, originally released on cassette in 1986. The Haters are a noise and conceptual art troupe from the United States. Founded in 1979, they are one of the earliest and most well-known acts in the modern noise scene. The group is primarily the work of the Hollywood, California-based musician, artist, writer, and film-maker GX Jupitter-Larsen, accompanied by a constantly changing line-up of other "members," usually local experimental musicians and artists in whatever town in which a Haters performance happens to take place. Future Cheers was an early astonishing cassette remastered and remixed for this reissue by GX in Los Angeles, 2016. "I destroy out of joy, not despair. I dont destroy out of anger. I destroy out of curiosity. I tear things apart to see what makes them tick. I want to take time apart to see what makes it tick-tock. I enjoy destroying everything because I enjoy leaving nothing un-destroyed. My noise acts as a kind of audio account or authentic evidence of this ceaseless, perpetual bittersweet happiness we call entropy." -- GX. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve with an original picture. Edition of 200." - Urashima.

"Hanson Records is proud to present the first LP from The Haters, In The Shade Of Fire, reissued for the first time on the CD format and for the first time in its original entirety. Originally released on LP by Silent Records in 1986, this digipak CD edition has been remastered by Warn Defever from the original master reels, and includes the full complete album as two of the tracks had to be shortened to fit on the original LP issue. Back during my Bachelor of Fine Arts, one of my fellow students was a woman who was eventually obsessed with the idea, systems, and eventual remnants of process. One of her key pieces involved hundreds of raw eggs which she carefully emptied, cracked open, and systematically peeled the delicate membranes from inside of the eggs. She carefully laid out the hundreds of membranes as they assembled in a giant area to the side of the studio. I swear that she didnt even have some grandiose idea for the membranes as the peeling and assemblage system(s) evolved into something that was simply beyond any eventuality and initial idea for the piling skins of the eviscerated eggs. The deconstruction and conception behind the act of pulling apart the eggs into a vast collection of grimy, translucent membrane piles suggested something so much more than even a final constructed piece. Watching her as she realized that the true crux behind the piece was the process alone was astounding as the membranes were laid to rest to represent an almost sudden and powerful eventuality that acted as a piled testament to process. The harsh sound works of The Haters over artist GX Jupitter-Larsens long and established career also powerfully bring to mind the idea of process. Most of The Haters works are ideologies behind something being destroyed or manipulated; the amplified and sometimes distorted sounds of the processes representing a document that exemplifies the acts carried out upon the objects, machines, or otherwise. The act of recording the processes alone is evidence of an eventuality (to possibly be edited further) in the form of a possible final piece of vinyl, cassette, or CD, but the tendencies of The Haters material also intend the listener to experience the process of the audio lines as they were primarily constructed in the recording area. There is no doubt that GX appreciates the totemic quality of his personal objects physical aftermath, that is sometimes documented with video or photographs, but the powerful beauty of a The Haters audio piece is the experience for the listener that acts ALSO as a final document of sound that represent clearly the certain idea and sometimes violent act. The Haters celebrated early work In the Shade of Fire acts a document collection for the listener that also reflects The Haters strong textural aesthetic through object manipulation and recording that defines GXs place in the world of harsh noise. Listening your way through the material is a studied and defined testament to different representational fragments of heavy sound and source manipulation. The tracks Glsam and Diti are explosive introductory and side concluding / framing pieces that highlight and pronounce the breaking and crashing down of material, all gelled with bass driven strikes whose trails deteriorate into hints of cascading dirty and dark Americanoise distortion. Bebas powers through a heavier dynamic with conscious falling apart of source material, but in abstracted waves that suggest the material being rebuilt just to simply fall and crash apart again with a sense of powerful futility. Thuch enhances the textural elements of the explosions and crashing as the sharpness of the strikes are slightly rounded at the edges to expose an almost gurgling texture that moves and slaps with vicious perplexity. Taisic represents a very early Americanoise study of hiss manipulation that is accented with minimalist scraping that bring to mind the force of process on top of the white noise line. Cassas is the albums meditated example of sharp shot-driven violence; articulated and seemingly layered for optimum cutting and breaking which bring forth sound dynamism from very physical deterioration. Fire 5 is an amazing example of a highly textural wall of sound that, to the contemporary fan of gritty and dirty crunch waves, is a primary early example of powerful crackle lines that focus on the inner dynamism of the sound itself. All of the material discussed above is made up of elements of physicality and process, but the tracks Iny 1 and Iny 2 act, for the listener, as the notes for the ideology of process and falling apart as they act as a more minimal, subtle, and exacting study of the scraping, scuffing, and hands on work of the artist as he manipulates the deteriorating materials. In essence, Iny 2 is an amazing concluding track that reminds the listener of the core focus and ideology behind The Haters exemplification of grating sound via concept driven manipulation of tangible sources, the process, the aftermath, and the eventual recording that reflects all of the above sound qualities." -Sam McKinlay

"definatly one of the grimmest releases on UE so far..
a swarm of bees are after you in your own house, theyre everywhere and u cant run out either cos in front of the only door of your "crib" the half man half beast god rapist is waiting for you..
if this creature whispers its 56 times louder then a normal human being, if it touches you softly with its fingernails youll bleed to death.., if it walks youll hear a pounding stomp from miles away.. it perfectly makes sense, its name is NATE YOUNG, part of the meanest band on earth WOLF EYES, full time lathe cutter and grim co label owner of ARIAN ASSHOLE with his lady ALIVIA ZYVICH.
a part of the recordings on this new lp were soundtracks for alivias filmwork, a bunch of it was already released as a limited cdr on fag tapes, the rest of this lp is brandnew and fucking creepy, even if u put the volume at 1 youll be pierced and screaming like a spazz, beautiful heavy layers of tick synth sperm, bells, and creepitronics!
this is the first in the series of 5 lps that will have huuuuge 6 panel fold out record covers by d tyfus, this one is full of black and orange human beasts on the outside and a red/green psychadelic eye burner on the inside!
limited to 500 copies." - Ultra Eczema.

"Holy crab! Two live shows on one cassette! Nate Youngs Hatred with creepy electronics and synths. Viki with a hybrid of industrial/noise and dance music created using her own modified instruments and processors." - Meu Dia De Morte.

"Hatred/Demons - documenting the confusion/transition of these two
bands. Early Hatred demos - Nate Young electronics, Spence Bryant on
drums, Steve Kenney on synth and guitar.
First release by Demons - Young and Kenney split from the drums of
Hatred and start a synth duo. Psychedelic depression." - AA Records.

"A solo recording from JOHN HAUGHM of AGALLOCH. Lush melodic and beautifully improvised guitar experiments that are sonically and spiritually aligned with originators of such ambience as Manuel Gottsching, Tangerine Dream or Popul Vuh, and contemporary practitioners such as Burning Star Core, Oneohtrix Point Never or Emeralds. Limited edition pressing of 500 copies on one-sided white vinyl packaged in hand-stamped, numbered sleeves." -Anthem.

"He-Man used to live in Castle Grayskull. That place was fucking haunted (proof? you point a sword at the sky, chant "I have the power", and turn into a hulk). So is this black-on-black 10" of wretched hallows eve spook-noise. Haunted Castle are a suburban Detroit duo of tortured basement clatter and poltergeist attack thrash, and their cacophony ritual here ("Rainbow of Octopi") is a cauldron of psychic evil and wraith frenzy. Easthamptons Grey Skull are a little more physical, starting a skeleton brawl with harsh tones, seizure shriek, and occult war drums. A trio of rad dudes (and sweet artists), GS bury their record in a mean, dead haze. Insanely awesome screen-printed, die-cut covers by Shawn Reed of Raccoo-oo-oon. Also, first 40 copies come with a bonus 3" CDR (either Haunted Castle or Grey Skull)." - Not Not Fun.

"Still-moving loops repeat and build themselves in deep washes of aural hallucination. Steve is known for his work in Ohio synth-drone unit Emeralds. Like the other output from the Emeralds crew, it is hard to believe that todays best synth music is being made by twenty year old dudes from the Cleveland suburbs, but they seriously just have it figured out. Steves smooth and densely layered drones, heavy in Kraut influence, are as huge as any of his contemporaries and as rich as his predecessors. Vocal incantations reminiscent of "Way Their Crept" era Grouper place Steves compositions on another level. Deeply thoughtful and knowledgeable zones floating in and out of reality. In an edition of 150 labeled tapes with full color cardstock J-cards." - Arbor

"S/H is an anthology of rare and unreleased solo works by former Emeralds member Steve Hauschildt. Handpicked from eight years of home recordings, S/H is an archival work which delves into the inner workings of both his own music and his contribution to Emeralds sound. Much of Steves work has lay dormant for many years, but S/H gives the listener a personal tour of his canon from 2005-2012. Steves music was initially born out of the mid-2000s Midwestern noise scene. But instead of creating harsh noise, he reconfigured and reappropriated techniques from the Berlin School, drone, new age and other forms of electronic music to create something wholly his own. This two disc set ranges from short electronic sketches to full-blown synthesizer suites. Most of this material is unreleased, with a few essential rarities that appeared on cassette and CD-r releases for such imprints as Mike Pollards Arbor, Chris Madaks Deception Island and Hauschildts now-defunct label, Gneiss Things." - Editions Mego

"From Steve Hauschildt: This new album was recorded in both Vancouver and Cleveland. I used almost 20 different instruments, from every decade from the 60s to the present, most of them synthesizers, drum machines and effects. This gives the album a much wider palette than my last, Tragedy & Geometry, and it also gives it a more classic/new sound, yet it is still a logical follow up to that LP. I also used some techniques in the studio where I controlled older instruments with the computer and this opened up new ways for me to explore their potential as well as their innate idiosyncrasies. I was very interested in the artificiality of vocal or choir-like sounds that emulate a person or group singing, and how this has evolved with the advancement of musical technology over the years. I also sang myself, and used a vocoder, not to sound robotic, but to remove the connotations of gender. Those sounds are androgynous because they carry both masculine and feminine characteristics. I was inspired to carry this idea into music mainly because of the work of Camille Paglia and Donna Haraway. I feel that the album in a sense treads the imaginary boundary between nature and artifice. It is postmodern, but not necessarily a post-Freudian statement on cyborg theory or feminism. Rather it is a musically mimetic domain where these ideas freely collide and coalesce. Exactly one year on from his last album, Steve Hauschildt returns with his most commanding work to date. Dense and lush arrangements conjure a retro-futuristic soundscape for a time that never was, or one that may yet arrive." - Kranky.

“Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like theyre bending through time. Its also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how theyre in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. Its a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded.” - Steve Hauschildt. “Graceful compositions flow throughout Steve Hauschildts fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener “Horizon of Appearances,” to the pulsing hypnosis of “Ketracel,” and on to the searing grandeur of album closer “Die in Fascination,” throughout, Steve remains restrained and in complete control of his sound." - Kranky.

"Perhaps the least prolific and quietest of the three members of Cleveland trio EMERALDS, STEVE HAUSCHILDT is usually found at their live performances playing the serious scientist as foil to the other two members more animated stage presence. As a teen, Steve bypassed the typical young music fan obsessions over punk and hardcore musics, drawn instead towards mid-late 90s techno/electro-revivalism and finding himself alone in an electronic universe of his own choosing. Steve has always considered himself more of an artist than a musician, and sees his work both in group and solo settings as much a visual experience as it is an aural one. The title Tragedy & Geometry is an ambiguous but subtle reference to Melpomene (Muse of Tragedy) and Polyhymnia (Muse of Geometry), or more specifically the collision/overlap of what they invoke. The opening track is also a direct reference to "Polyhymnia, Muse of Eloquence", the painting by the French artist Charles Meynier on display at the Cleveland Museum of Art. The album is a treatise on the idea that technology is becoming more disposable as its becoming more accessible, and how this circumstance has a more evident/direct effect on the interpersonal, i.e. relations, with others in the so-called Age of Information. What results is a gorgeous, flowing, floating world of post-kosmische musik, Steve Hauschildts first widely available release, and his first major statement as a solo artist." -Kranky.

"Perhaps the least prolific and quietest of the three members of Cleveland trio EMERALDS, STEVE HAUSCHILDT is usually found at their live performances playing the serious scientist as foil to the other two members more animated stage presence. As a teen, Steve bypassed the typical young music fan obsessions over punk and hardcore musics, drawn instead towards mid-late 90s techno/electro-revivalism and finding himself alone in an electronic universe of his own choosing. Steve has always considered himself more of an artist than a musician, and sees his work both in group and solo settings as much a visual experience as it is an aural one. The title Tragedy & Geometry is an ambiguous but subtle reference to Melpomene (Muse of Tragedy) and Polyhymnia (Muse of Geometry), or more specifically the collision/overlap of what they invoke. The opening track is also a direct reference to "Polyhymnia, Muse of Eloquence", the painting by the French artist Charles Meynier on display at the Cleveland Museum of Art. The album is a treatise on the idea that technology is becoming more disposable as its becoming more accessible, and how this circumstance has a more evident/direct effect on the interpersonal, i.e. relations, with others in the so-called Age of Information. What results is a gorgeous, flowing, floating world of post-kosmische musik, Steve Hauschildts first widely available release, and his first major statement as a solo artist." -Kranky.

"Steve Hauschildts new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister andTragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given its own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildts vision yet." - Kranky.

"The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friends studio, they recruited more musical friends, so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch, etc. In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released The End of the Line, a self-released album in a private edition of 250 copies. It was a collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song "When the Madcap Meets the World." This expanded double set reissue of Havenstreets sought-after album includes: the original The End of the Line album from 1977, a new album called Perspectives, which presents the best tracks from the privately-pressed cassettes The Autumn Wind (1974) and Transition (1976), plus rehearsal recordings for The End of the Line (1975/1976) and previously-unreleased recordings for the groups projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan-styled prog-rock. Includes a 16-page LP-sized booklet with photos and detailed liner notes. Remastered from the original master tapes." - Sommor.

"The five instrumental compositions, which comprise this EP from 1999, are contemplative and melodic sound experiments. Traditional instrumentation (guitar, percussion, etc.) mixes with found sounds and samples to create wisely restrained, yet emotional music.
On transparent vinyl with clear plastic sleeves, in an edition of 550 copies." - Elevator Bath.

"Deluxe 180 gram black virgin vinyl version (matte finish sleeve). Dirter Promotions presents on double vinyl a previously-unheard and unreleased live Hawkwind show from the Cambridge Corn Exchange in 1972. "Though the tapes were listened to in the weeks after the show, Lucas and Kemp upgraded their recording equipment to half-inch a few months later and the quarter-inch reels disappeared, thought perhaps to be lost forever. Fortunately, that wasnt the case. In 1985, a reel was unearthed at Spaceward Studios, noted to contain the Syd Barrett element of the show plus parts of the Hawkwind and Pink Fairies sets, and in 2005 a second copy of the recordings was unearthed in a collection of tapes stored in Gary Lucas attic. Its the Lucas tape, via an appearance on the auction lists at Bonhams in Knightsbridge, which has enabled the release of this pivotal show. Dirter Promotions is very pleased to present these recordings, cleaned-up and remastered, enabling Hawkwinds dedicated fan base to experience the band in full flow, poised to fly high and fly far, making the very concept of space-rock their own in perpetuity." - Ian Abrahams (taken from sleeve notes). Features "classic line-up" of Dave Brock, Nik Turner, Lemmy and Robert Calvert.

"a rarity, while not being in higher atmospheres of any kind, the film "kodomo ga Mushi no shigai wo umeni iku" aka "A child goes burying dead insects" forced up a third sleep state, third dream state and third reality check.., wishing the colours were really the colours one would see everywhere, instead of the discusting digital prints or pixelated madness that get shoved up our body holes! it makes me wonder if i am really here right now or if i had seen the film before 2009 which is not possible as it was made in that glorious year..
this soundtrack of japanese film maker Rei Hayama, her main concern on film is about the relations between wildlife and present humanity, she is a co founder and organizer of (+), a experimental screening project in japan. this soundtrack is driven by a beautiful japanese folk loop, blown over by a HNAS type of sound collage, primitive in its set up, and sliced open by Reis own angel type of vocals, like a creepy lullaby.
comes in a stencil printed cover with images from the film, and a extra insert that doesnt have anything to do with it at all! limited to 200 copies." - Ultra Eczema.

Limited to 500 copies. "Previously found prizing atom splitting feedback through a horizontal guitar, Bridget Haydens solo experiments have more lately sought the brooding, layered blues that we find resonating in “An Indifferent Ocean”. A stripped down set up, featuring an out of tune, hand me down guitar, two pedals of similar origin – no delays – and a donated fourtrack port-a-studio found on the street, has converged to form a crafted storm of abyss kicking improvisation.
Best known for her involvement with the hypnotic, shambollic and critically acclaimed drone band Vibracathedral Orchestra, Hayden split in 2006, desiring change and a new vein to hone.
She toured solo with kindred freaks such as The Aethr Method, Melanie Crowley-Delaney, Marcia Bassett and Sunburned Hand of the Man, later teaming up with The Telescopes henchman Stephen Lawrie to begin a noisy collaboration that continues to confuse and electrify.
Here, in her first official and long awaited solo release, you will find a spectrum of somnambulist trances that seamlessly conjoin dense and frantic depth with delicate fracture. Relentless guitar shredding epics are interspersed with graceful, drifting melancholia that lull the listener back to shore with a warm, whispered dream after being crashed mercilessly against the rocks." - Kraak.

"Bridget has started playing songs of late and theyve turned out to be beautiful clumps of carefully executed guitar dirge with haunting vocals. THIS monster of a disc, though, was recorded right before she got into that zone and its an improvised blast of buckshot, right to the face. It was recorded at a show in Manchester that she opened for Marcia Bassett and it shares much in common with the latter. If youve heard those Hototogisu records, then think along those lines. Its so heavy it almost becomes meditative." - Golden Lab. 2009 release.

"Collaboration between members of
Vibracathedral
and Ashtray Navigations. Time is stretched,
squished and
flip-ended in a vein popping psychadelic
whirligig. This is a CD re-issue of the
Memoirs
of an Aesthete tape release #30. In hand spray-painted covers,
limited to 30 copies." - Smokers Gift.

"Baltimore-based sound artist Andy Hayleck has worked primarily with field recordings and bowed metal over the past seven years in improvised settings, installation and solo composed works. His previous recordings include The Disappearing Floor (Recorded), a suite of edited field recordings and vibrating metal sounds; Various Recordings Involving Ice (Fairfield/HereSee), a set of field recordings of crystallized H2O; and his bowed saw and cymbal performances with fricative free music collaborative group Trockeneis (Ehse). Two Gong/Wire Pieces presents side-long live-to-tape performances using a special system which Hayleck has invented and with which he has performed widely - bowing a long wire attached to a Chinese gong, allowing for special control of the irrational vibrations of the metal plate through careful control over the tension of the wire and place and style of bowing. The resulting masses of beating tone-forms are lakes and pools of eddies or whirlpools born from a deceptively simple and carefully considered system and a seemingly enormous pair of ears." - Ehse.

"ENDLESERIES is a collection of music exclusive to our catalog. The catalog is continuously growing. We hand lathe cut 10" virgin lacquers with aproxamately 9 minutes of audio
per side. Each lacquer is cut to order. The records play at 33rpm." - Endleseries. New series of customized split 10"s from Caleb Johnston (Anonymous, Nautical Almanac, etc..).. Beautifully packaged, metal-core virgin dub plates, with handstamped, old style 78 sleeves and labels.

"Beautiful picture disc LP featuring two full-color reproductions of visual works by Jim Haynes and two new side-long solo compositions. The ideal companion piece to Jim Haynes masterful album, Telegraphy by the Sea. Eraldus and Eravaldus are both shadowy concoctions built from agitated objects and amplified spaces (a lighthouse, some high-tension wires driven by wind, a very large pile of sand, etc.). These are subtly manipulated field recordings, rusted to perfection and fine-tuned into scraping and humming machinations. The artwork comes from two corroded photographs, one of which was created especially for this LP. Haynes has worked with this process for almost 15 years and, here, the resulting images are as beautiful and mysterious as the audio is nuanced and evocative. In addition to his solo work, Jim Haynes has participated in a number of fruitful collaborations over the years with Loren Chasse (as Coelacanth), Keith Evans, Steven Stapleton/Nurse With Wound, and irr. app. (ext.)/M.S. Waldron. He currently resides in San Francisco. This picture disc LP has been released in an edition of 260 copies." -Elevator Bath

"Parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. Where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. As such, this ontological disappearing act stands in allegorical parallel to the entropic art of Jim Haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound. This San Francisco Bay Area artist has long defined his work through the pithy phrase: I rust things. The Decline Effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. Haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. Here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and/or digital patch authored by Christian Fennesz. Haynes broken minimalism orbits somewhere near the work Joe Colley, G*Park, Nurse With Wound, and BJ Nilsen. The 2LP of The Decline Effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve, and sports the necessary download coupon. Zener cards not included." - Helen Scarsdale Agency.

"The recordings for The Wires Cracked were completed in a frenzied two week period in October of 2012. I had mentioned in discussing a previous albums construction that I prefer to forget how I build any particular electro-acoustic amalgam. This is so that I dont get to precious with them, so that I could refine them further, so that the sounds themselves speak beyond their aggregate parts. With the album being relatively fresh in my mind, I can still recall various components to "The Wires Cracked" -- the desolate howl of a metal screen activated by a desert wind, the hissing air compression from the cooling apparatus for a laser at the SLAC National Accelerator Laboratory operated by Stanford University, and the tremolo rhythms from a thin wire that still get me thinking fondly of Günter Schickert -- but much of the caustic drone, thrumming reverberation, and tactile grit thoroughly escapes me. Thats probably for the best, since these various parts speak to an existential rupturing, the collapse of the self, the aftershocks of dark energy, and a belief in the hope for renewal. Describing his work through the pithy phrase "I rust things," Jim Haynes is an artist who has developed a vocabulary of decay that he has applied to photography, video, installation, and sound. Haynes sound work draws from shortwave radio static, electric field disturbances, controlled feedback manipulation, and numerous textural scrapings, manifesting broken minimalism of magnetic drones and volatile tactility. This engineering of disparate materials and media seeks to evince the unpredictability of decay, to manifest its potential for a rough hewn beauty, and to bare witness to its inevitability. He has exhibited internationally at Electric Works (San Francisco), the San Francisco Museum of Modern Art , the Bekerley Art Museum, The Exploratorium (SanFrancisco), WestSpace (Melbourne, Australia), Jack Straw Productions (Seattle), Eyedrum (Atlanta), Diapason (New York), and The Lab (San Francisco). Haynes has published his work through the Helen Scarsdale Agency, 23five Incorporated, Intransitive, Observatoire, and ElevatorBath. He has collaborated with Steven Stapleton (Nurse With Wound), M.S. Waldron (irr. app.(ext.)), Keith Evans, Allison Holt, and Loren Chasse. Haynes is one of the directors for 23five Incorporated and is the sole occupant at the Helen Scarsdale Agency." -Editions Mego.

"Hailing from the Turkish capital of Ankara, Hayvanlar Alemi is a group of contemporary players steeped in the art of psychedelics, surf, and expansive rock instrumental grandeur. Formed in 1999, the band is led by Özüm İtez (electric guitar) and Işık Sarıhan (percussion) and theyve released a variety of CDs and mp3 tracks in Turkey and beyond leading up to this, Guarana Superpower, their first-ever vinyl LP. The tracks drift from majestic beauty to blazing delirium with İtez etching his manifesto for electric guitar every step of the way backed by Sarihans wide variety of percussion styles. Although the group is rooted in classical and modern Turkish psych-rock in spirit, they draw on a large range of sounds and influences, and traces of Turkish styles are hard to pin down. Two of the tracks, "MEGA Lambada" and "Guarana Superpower," are more reminiscent of late 80s post-punk experimental mind-melting, referencing Torch Of The Mystics-era Sun City Girls in grand fashion. Other cuts expand on a diversity of areas including tripped-out surf, retro Cambodian rock, electrified Thai Mor Lam and Saharan guitar music. Every single track is memorable and the incredible variety helps confirm the fact that Hayvanlar Alemi is one of todays great rock instrumental combos. This extremely limited one-time LP pressing comes in a full color heavy-duty tip-on jacket." -Sublime Frequencies

"Hailing from the Turkish capital of Ankara, Hayvanlar Alemi is a group of contemporary players steeped in the art of psychedelics, surf, and expansive rock instrumental grandeur. Formed in 1999, the band is led by Özüm İtez (electric guitar) and Işık Sarıhan (percussion) and theyve released a variety of CDs and mp3 tracks in Turkey and beyond leading up to this, Guarana Superpower, their first official release outside their home country. The tracks drift from majestic beauty to blazing delirium with İtez etching his manifesto for electric guitar every step of the way backed by Sarihans wide variety of percussion styles. Although the group is rooted in classical and modern Turkish psych-rock in spirit, they draw on a large range of sounds and influences, and traces of Turkish styles are hard to pin down. Two of the tracks, "MEGA Lambada" and "Guarana Superpower," are more reminiscent of late 80s post-punk experimental mind-melting, referencing Torch Of The Mystics-era Sun City Girls in grand fashion. Other cuts expand on a diversity of areas including tripped-out surf, retro Cambodian rock, electrified Thai Mor Lam and Saharan guitar music. Every single track is memorable and the incredible variety helps confirm the fact that Hayvanlar Alemi is one of todays great rock instrumental combos. CD version features two bonus tracks and includes an 8-page color insert with photos of the group." -Sublime Frequencies

"Hayvanlar Alemi, led by Ozum Itez (guitar) and Isik Sarihan (percussion), are a group of contemporary musicians from the underground scene of the Turkish capital, Ankara. Their genres are extraordinary psychedelic, surf, and instrumental rock, flavored with an exotic twist. They released some domestic CDs in Turkey before their international debut came out on Alan Bishops and Hisham Mayets Sublime Frequencies label in 2009. Guarana Superpower (SF 062CD/LP) sold out in only a few weeks. Twisted Souvenirs documents their fast-paced development into an elegant, highly complex, genuinely performed mélange of the most exotic possible influences. They position themselves close to their roots but open up at the same time to influences from the East and West and beyond. Reminiscent of Sun City Girls Torch of the Mystics phase, influences from Cambodian retro-rock and electrified Thai Mor-Lam are as deeply anchored in their sound-carpet as the glittering guitars from the Sahara. Hybrid music galore. "Karecikler Dolmadan," once the intro to their recent live sets, becomes the centerpiece to this album. "Yekermo Sew," a careful new interpretation of the Mulatu Astakte classic, and "Geneva Incident" are highlights amongst an album where each and every song is unique and recognizable. With a steady hand, Hayvanlar Alemi put pieces together from global sounds to make this album a perfect entity. Limited edition pressing of 750 copies." - Unrock.

"Formed by three school friends in the Turkish capital of Ankara in 1999, Hayvanlar Alemi have established themselves at the vanguard of global psychedelic sound. Their acclaimed 2010 album Guarana Superpower (SF 062CD) was released on the buzz-label Sublime Frequencies and showcased the bands unrepentant eclecticism and wide-eyed cosmic spirit. Interfacing with the golden age of Turkish psychedelic rock, surf music, Cambodian pop, West African guitar motifs, Middle Eastern traditional music, and the knife-edge of indie rock, it was clear from the beginning that Hayvanlar Alemi was an instrumental rock band for our radically interconnected millennium. But in 2010 they also recorded and released (online) a dramatically different sort of album. The band had flirted with dub-reggae stylings since their inception and with Visions of a Psychedelic Ankara they at last realized their dream of making a full-blown dub album, though clearly a dub album that also embraced their own agenda. The album includes covers of the Eek-a-Mouse classic "Assassinator" and a legendary Turkish radio jingle, and blends together re-workings of older Hayvanlar Alemi songs with freshly minted, dubwise explorations. Drummer Işık Sarıhan explains the albums inception this way: "We were listening to a lot of dub and reggae during the days leading up to this album. We even ended up playing in a reggae festival at some point; we were invited for some reason, maybe because we had some reggae rhythms on a bunch of songs on the previous demos. Anyway, we had this fantasy of creating a dub record, but in our own psych-rock fashion which led to Visions of a Psychedelic Ankara. The title is a reference to the African Head Charge album Vision of a Psychedelic Africa." Visions of a Psychedelic Ankara is the flashpoint where dub music and global psych-rock melt together. It is a feast for all well-appointed sonic explorers. This is its first vinyl release, pressed on 180-gram vinyl, presented in a gatefold sleeve, and limited to 500 copies. Side A is the complete Visions of a Psychedelic Ankara (2010) and side B is a collection of related, previously unreleased songs and experiments titled Selected Visions (2009-2011)." - Glitterbeat.

"Hayvanlar Alemi comes smashing out of the gates in 2012 with a jaw-dropping version of Mulatu Astatkes "Yekermo Sew" as the A-side of this single. Side B is an unreleased improvisation featuring the quartet version of the group. This limited one-time pressing vinyl single was made for the band to sell on their European tour, which begins in May of 2012. Limited copies, however, will be available through normal distribution channels. 45 rpm." -Sublime Frequencies

New multimedia release by THIS HEAT and CAMBERWELL NOW member Charles Hayward.
180-gram vinyl with handmade sleeve, in edition of 350 copies. Includes DVD-R in hand-stamped slipcase, 2 inserts & download coupon.

"A trilogy of live CDs, only released in Japan by Locus Solus. Volume One is a mostly solo affair from the legendary drummer and This Heat founder, Charles Hayward (drums, voice, tapes, melodica). Makoto Nomura (piano, melodica) and Akira Toyonaga (guitar) guest on one track. Recorded April, 1996." - FE. "Solo performance in his unique style. He sings, plays drums, operates two or three cassette players by means of an MTR, and a tape machine with foot switches, all at the same time." - Locus Solus.

"Tracks 1-4 are from his solo performances, songs that werent able to be released on Escape From Europe. Tracks 5-7 are new songs composed in the studio by remixing and overdubbing sessions with Tatsuya Yoshida, Yoshihide Otomo, Kazuhisa Uchihashi. Track 8 features Hayward singing with a melodica, recorded in a temple garden by Tatsuya Yoshida." - Locus Solus. Recorded April, 1996.

"The cassette showcases two contrasting explorations of the microtonal tuba. "Rubble Master" explores noise production, with the lips and tongue acting as noise generators that are filtered using half-valve techniques. "Underground Music" uses live electronics to simulate the movement of two related tunings moving in opposite directions, like trains through the abandoned underground station in which the piece was premiered. Program repeats on both sides." - Cassauna.

"Robin Hayward has completely redeﬁned the tuba as sound-producing medium, releasing a sonic potential which ranges between the extremes of noise and microtonality. Upon ﬁrst listening, one ﬁnds it unimaginable that many of these sounds can be produced on a tuba, but Hayward has dedicated his life not only to empirical experimentation, but also to the academic scientiﬁc study of the acoustics of brass instruments. Rarely has a musician of this caliber immersed himself so deeply in the boundaries of his instrument. The resulting compositions make demands on us: they force us to sense the air pressure in contact with the physical world without framing the sounds in the conventions of contemporary or traditional music. In this sense, Haywards approach is refreshing and revolutionary. In these extraordinary recordings there is no cultural intermediary - it is as if we ﬁnd ourselves inside the instrument itself, being pushed back and forth against the walls of a giant membrane or tunnel; left to our own metaphorperceiving natural processes, minimal music, mechanical movement." - Choose.

“Robin Hayward plays microtonal tuba in Catherine Christer Hennixs ensemble; Stop Time is his first composition to be released on Important Records. Stop Time was commissioned for a festival of the same name that took place in Leuven, Belgium, in 2013. It is the first piece to use a subset of the three-dimensional physical version of the Hayward Tuning Vine software, invented in 2012, as a musical score. The harmonic space implied within the four cubes contained within the subset, based on prime numbers two (octave, color-coded gray), three (perfect fifth, color-coded blue), and five (major third, color-coded red), is explored by the acoustic instruments and projected via the surround-sound system onto the physical space of the performance area. In this performance, the color-coding is made explicit by spotlighting each musician according to the color of the pitch played. In the middle of the piece, when the central black ball is sounded, the lighting therefore momentarily disappears. The idea is not so much to simulate synesthesia as to explore possible interactions between sound, vision, space, and time. Harmonic space is projected over time onto physical space, thus "stopping time." The recording and photos are from a September 2014 performance at De Bijloke, Ghent. Wannes Gonnissen: live electronics; Robin Hayward: microtonal tuba, composition; Pieter Matthynssens: cello; Bertel Schollaert: baritone saxophone. Marieke Berendsen: scenography. Tania Kelley: photograph of physical Tuning Vine.” - Important.

"2015 is a busy year for Michael Head. His second single as Michael Head & The Red Elastic Band was released in March 2015 on his Violette Records. "I Know You Well," a 1990 single by Heads band Shack, leads off Jon Savages 2015 Perfect Motion double LP compilation, described as "a musical return-trip to these fondly remembered years spanning 1988-93." And now, his classic 1997 album The Magical World of The Strands is available as a deluxe reissue. This reissue of this all-time classic also appears alongside The Olde World (MEGAUK 023CD/LP), a collection previously unreleased tracks and remixes from the album sessions. Finally, both the reissue and The Olde World arrive in advance of Heads first gigs as Michael Head & The Strands, where they will play The Magical World of the Strands in full. In 1993, Head teamed up with his brother John, his longtime drummer Iain Templeton, and two new recruits, Michelle Brown on bass and Les Roberts on flute, and began two years of recording sessions. The sessions came to a halt when Head was offered a major label deal, not for his current work, but for him to record as Shack again. Weaving rough mixes and sketches -- by engineer Steve Powell, made in Liverpool -- with completed mixes by producer Mark Coyle, Stephane Bismuth, the French promoter who initiated the Strands sessions, finally released The Magical World of The Strands on Megaphone in 1997. This work-in-progress garnered great critical acclaim and is rated by many as the "rarest jewel of the 90s" (Q). The CD version of this reissue includes two bonus tracks, the B-sides to the 1998 NME and Melody Maker Single of the Week "Somethin Like You." "Green Velvet Jacket" is an acoustic solo piece by Head, and "Queen Matilda (Demo)" was recorded in early 1993 and produced by the bands friend and live engineer Ian Eastwood on a four-track Tascam cassette recorder. The CD and LP both include a 20-page booklet containing new liner notes by Head himself and photographs testifying to album sleeves work-in-progress." - Megaphone UK.

"Spectrum Spools are beyond excited to present you with the highly-anticipated vinyl debut of the Head Boggle project. The world has been waiting for this day to come, and finally a full-length long player has arrived. Recorded at his apartment studio, Headboggle is the manifestation of Derek Gedalecias acoustic/electronic research utilizing the "kitchen sink" in every sense of the idiom: Moogs, harmonica, banjo, harpsichord, Irish harp, EMS Synthi, violin, drums, clavinet, Serge Modular, field recordings and more! What makes Headboggle so special is the careful arrangement of sound, with painstaking attention to composition and sound direction. Disorienting magic is a key trait of the Head Boggle sound, one which captivates and commands repeated inspection. Like any great, focused album effort, there is a narrative arc -- from the introductory "Flourescent Star" with its dizzying, fractured crackle and bizarre piano float to the tension-packed, information-overloaded squabble and squawks of the "Dream Diary" and "Europa Astrobiology Lander" tracks. Head Boggle is a dedicated and devotional effort -- one with precision and prodigious vision. Equal parts François Bayle and Tod Dockstader in the best possible way, its still hard to pin such a multifaceted talent to any kind of descriptor. Derek has been honing his sound for years with loads of releases on almost every essential tape and CD-R label out there. Here we have his finest set of compositions yet in hi-fidelity, tight and tediously packed, forming his most concise release to date. The Head Boggle debut has raised the bar for classical electronic composition with the greats, a feat of rare occurrence." - Spectrum Spools.

"Head Boggle returns to the vinyl format with what is perhaps his most refined and focused work to date. Serge Modular in Hi-Fi was recorded in early 2012 at the S.F. City College Electronic Music Lab utilizing a vintage pre-STS Serge Modular Synth system and was conceived as a pseudo aural cubist sound piece with an intention to achieve pseudo 3D cubed sound through discrete recording and mixing techniques. The only effects utilized were four or more analog delays being played real-time a la dub/reggae mixing techniques. The final selections were then sent to Kramer at Noise Miami for hi-fi correction and an aesthetic mastering treatment and then to Jeremy Bible for a final mastering treatment specifically for the vinyl format resulting in a sonically rich listening experience of hallucinatory synthesizer ragas. Derek Gedalecia has commanded the attention of the avant/noise underground as Head Boggle or nearly a decade now, showcasing his unpredictable live performances and omnivorous synth mastery in DIY venues across the country -- and on over 60 physical releases on labels like Baked Tapes, 905 Tapes, Spectrum Spools, and his own Greedmink imprint. The Head Boggle catalog speeds into the future as a continuing experiment with new equipment, compositional processes, and live performance tactics, as each release pushes the boundaries of his gear and his mind into more and more maniacal post-post-Subotnick free-for-alls." - Experimedia.

"Taped by psychedelic rockers the Gods (as Head Machine) at the tail-end of 1969, shortly before they morphed into Toe Fat and then Uriah Heep, this British underground rock classic features plenty of wailing guitar from Ken Hensley, and powerful drumming from Lee Kerslake. Extremely rare in its original form, it makes a welcome return to LP here, complete with background notes." - Aurora.

"Head of Wantastiquet is the solo project of Sunburned Hand of the
Man"s Paul Labrecque. This is the long awaited follow-up to Paul"s
debut cassette release on Open Mouth. This LP is luscious and layered
with psych banjo based pieces spread over 12 tracks. I"d compare it to
a cross between Daniel Higgs and Doc Boggs sans vocals. A truly
beautiful record which comes in a VG Kids screenprinted double sided
sleeve sleeve in a one time edition of 500." - Ecstatic Yod

"RSD 2017 release. Cabinet Of Curios is the first ever career-spanning compilation of the solo work of Jowe Head, an essential name in the birth and development of the UKs underground scene. From 1981 debut album Pincer Movement up to 2014 recordings by Jowe Head and The Demi-Monde, plus previously unreleased tracks, these 20 cuts present Heads wonderful mixture of off-kilter pop and avant-garde weirdness, like a noise party attended by Joe Meek, Burt Bacharach and Sun Ra. "If one looks at the galaxy of stars that can be attributed as source material for todays musical DIY/lo-fi generation, Jowe Head shines as a true iconoclast. His 1973 addition to the avant-garage godfathers Swell Maps added an impressionistic edge to their psychedelic punk pastiche that drew of Max Ernst as ably as Can. Later on in The Television Personalities and his Househunters and Palookas projects, not to mention a sprawling solo discography, Jowes persona injected color and livelihood into an often-too-cool-for-school post-punk scene around Britain while still delivering transportative sounds and open-to-the-listener interpretations. This compendium is in itself a galaxy of sounds that will never fail to deliver." - Brian Turner, WFMU Music Director.

"Heart Land hail from New Hope, PA. Its a liminal place, halfway between everything, where all the lines blur and where things arent always what they seem. I remember one autumn evening a quarter-century ago, when New Hope first got under my skin. In that twilight moment, legendary psychedelic LP collector Veronica Breth (then still known as Gregg) let me in on her little secret: Its better to sell 100 records at $150.00 apiece, she whispered in her kiss-of-the-spider-woman purr, than it is to sell 1000 records at $15.00 each... I dont know if it was the ginseng wine, or the unbearable straightness of her long blonde hair, or the way s/he French-inhaled her clove cigarette, but the whole conversation made me a little light-headed. At that time, the notion struck me as elitist to the point of vampirism, but Ill be goddamned if her words arent truer now than when s/he uttered them. What with the internet both hipping everybody to everything and making it all available at any time, rarity itself is as rare as a day in June (as they say). Which brings me back to Heart Lands self-titled LP on Tequila Sunrise Records, one in a series of on-going collaborative co-releases, this one with Cream of Turner Records. Its a limited edition of 200, all with hand-made library-binder style covers, and very sharp-looking indeed. But not only is every sleeve different and unique, but every record is different, too -- at least, thats how it sounds! What do I know? Every time I play it, it sounds different. Seriously. All I know is that the guys from Heart Land burrowed into the outside-psychedelic-trance-noise-improv badger-hole like a dachshund (albeit one with an un-German sense of humor) and came back with a mash-up of every track on the NWW want-list plus a few imaginary tracks mixed in (only it turns out none were really imaginary after all, if you get my drift). Are these songs 30 seconds long, or are they whole sides? Are they soundtracks for unseen cinema? Who can say? I cannot answer these questions, I can only raise them. Heart Lands inspired throb is a true rarity, sand thrown into the gears of the reality studio machine, and you dont have to be a Swiss collector to afford it. Yet. Listen, wonder, and ride a white dove, luv!" -Carlos Ramirez, San Tanco, Puerto Rico

"HEATER is a three-piece Columbia super group, if such a thing exists. Heaters guitarist and lead singer, ZACH "ZZ" MCLUCKIE, used to be a member of CAVE and SNEAKERS), among others. Heaters bassist / second guitarist, JEREMY "JERUSALEM" FREEZE also plays guitar in JERUSALEM and the STARBASKETS, and both he and Heaters drummer, JON "WUJJ", formerly jammed together in CALIFORNIA RAISINS (their only release was a split 10-inch with Cave, also on Permanent). God and Hair is a super upbeat, melodic pop record in essence, but as mentioned before, these guys come from a very DIY background. Its got some fast repetitive lo-fi punk rock jams with reverb enhanced vocals similar to those found on the Sneakers Children Into People EP, and some Clean-esque pop elements, but its also got tracks with a great laid back summertime 90s alt-pop vibe not too dissimilar from the least noisy 90s moments of Sonic Youth and Sebadoh. All of these elements come together and make for a unique sound, and make for one hell of a summertime DIY pop jammer." -Permanent

"Heathen Shame is the trio of Wayne Rogers, Kate Village, and Greg Kelley. They make a howling racket on guitar, trumpet, Moog, and drums. All techniques borrowed from Mauricio Kagel, never to be returned." - Twisted Village.

"The second album from Cambridge, MA-based Heathen Shame. The trio of Greg Kelley ,Wayne Rogers , and Kate Village formed under the banner Heathen Shame in the fall of 1999. After a handful of one-off shows they recorded their self-titled debut LP in May of 2002, which caught them just as their sound was starting to gel. They then embarked on a three week tour of Americas heartland with Double Leopards (including at least one outdoor show that could be termed a "gathering") in an attempt to share their unique brand of high decibel improvisation. Although they drove away as many people as they converted (OK, maybe a lot more than they converted), the steady gigging continued upon their return and soon the Heathen Shame were playing as one mind rather than three. Speed The Parting Guest is a carefully paced but blazing affair that shows how seamless a unit theyve become. In contrast to the abstract feel of their debut, Speed The Parting Guest finds them swinging large blocks of sound around their heads for hours before launching them at you. Their wall of sound is now a sonic universe that they can manipulate with slow malice or lightning precision. Heathen Shame are destined to be THE most talked about two-guitar-and-trumpet combo of 2005 and beyond." - FE.

"The enigmatic Heatsicks CasioTones evolve over this EP with the inclusion of accompanying drum machine -- four focused tracks that express the overload from stimuli and expansion from time space compression. Label art by Jean-Michel Wicker."

"Equipped with only a Casio keyboard, Heatsick has played alongside everyone from Omar Souleyman to DJ Harvey, Daniel Wang and Legowelt, and has demonstrated his ability not only to extend his keyboard to its limits, but to transcend its musical territory. Déviation features four tracks of kaleidoscopic house that combine a lo-fi aesthetic with clear, textured structures. Mastered and cut by Rashad Becker at D&M and pressed on 140 gram white vinyl, housed in a silk-screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas." -Pan.

"Intersex is the debut LP by Steven Warwick aka Heatsick. The title references the work of German sexologist Magnus Hirschfeld, looking at how music and sexuality can operate in flux on a constantly sliding scale. Executed on just a Casio keyboard and manipulated loops via guitar pedals, Intersex deliberately evokes "ersatz" notions of electronic dance music and early electronics in the line of Roberto Cacciapaglias Ann Steel record, the work of Warner Jepson and the kaleidoscopic sound of Ron Hardy, pushing dance/body music through a saturated psychedelic lens. Steven Warwick is a Berlin-based performer, also known for his work in the electronic duo, Birds Of Delay. His approach is one of carefully thought-out loops which are then sent into varying interactions and play. Active in the club, art and music scenes, Warwicks work is one existing in a luminal space, meditating both at once in real time and the "just past." The LP is mastered and cut by Rashad Becker at Dubplates & Mastering, in a limited edition of 500 copies, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk-screened PVC sleeve with artwork by Steven Warwick, Kathryn Politis & Bill Kouligas." -Pan

"steven warwick is a wonderful character on the alien electronics
landscape, and the vast bulk of his Heatsick tapes are spools worth
hording. this one lands high on his heap, freaked out innerspace vision
trances that blow a lot of comparable types outta the water. pro-dubbed
tapes in double-sided full-color j-cards w/handcut labels and a stenciled
case." - Not Not Fun.

"Re-Engineering is the bold new album from Heatsick, aka Berlin-based British artist Steven Warwick. Well-known for his epic multi-hour live club sets and acerbic wit, he characterizes this collection of new material as a "cybernetic poem" that both indulges us in the mores of hypnotic dance music while holding a critical, and at times satirical, lens toward the culture writ large. The opening title-track is symbolic of this balance, the crisp spoken-word poetry communicating hyper-modernity in crisis in a piece that equally evokes the masked humor of Chic and the biting surreal-ity of Chris Morris. "Modern life is still rubbish you say. Modern rubbish is still life." The tracks "Mimosa" and "Speculative" play with a similar conflict, warping the themes of modern luxury familiar to Malcolm McLarens seminal Paris album, and delivering rare vocal lines that convey distance and a degree of uneasiness. The masterful club tracks that constitute the bulk of this album feel all the more powerful and honest when framed in this hyper-aware context, confirming the underlying inclusiveness in Warwicks music and perspective. We dance together, we crash together." - Pan.

"6 song EP for San Diegos Heavy Hawaii, featuring Matt Bajaras, former band mate of Nathan Williams of Wavves. The Heavy Hawaii EP was produced by Jon Greene (Crocodiles, Dum Dum Girls) and Brandon Welchez of the Crocodiles. On red vinyl with glossy insert." -Art Fag

"Chicagos most hated band on the worlds most hated record label, what could go wrong? But dont believe what youve read in the papers, HEAVY TIMES are certainly back with their massive third album, mainlining 18 tracks in 33 minutes for maximum impact to your safely guarded danger zones, and simultaneously scoring the soundtrack to your summer of sickness. Picking up where the razored edge of Jacker left off and screaming off into the stratosphere where their heavenly guitar interplay weaves a complicated yet natural web around their unique and peerless punk sound, Heavy Times have raised the bar undoubtedly, and youd better be ready. Recorded with COOPER CRAIN from Bitchin Bajas/CAVE, this album jumps out of the grooves and shakes you senseless from one song style to the next, displaying a range and variety most modern punk bands wouldnt even understand, let alone be able to keep up with. Through all the dizzying highs, the sobering lows, and the creamy middles, Heavy Times are quickly mastering their form roght before our eyes and its never been more evident as on the Fix It Alone LP, one incredible album thats a benchmark for modern punk, with all the hooks you just cant find in books. First LP pressing of 550 copies." -Hozac.

One of four installments in Rotted Tooths Summer Flexi Series. "HEAVY TIMES brings their A-game with their two flexi tracks. Lost Dogs is an upbeat windows-down, girl-on-your arm, open container summer jam if weve ever heard one. Try not to sing along with the chorus, I dare ya. The second cut, P.O. Box, is a more mischievous little critter. The opening riff runs circles around your hungover ass for a minute and casually transitioning into the catchy second part. Then back to part one, an extended part two, and a heavy outro and DONE. Wham bam thank you maam. Heavy Times at their finest."-Permanent Records. Limited to 250 copies with silkscreened jackets by Jo Dery.

"Last summers CD release for HEAVY WINGED, Blacc Lust, flew out of here and really seemed to find a good home with folks. Following up on that response comes the massive and dense blowout that is Alive In My Mouth. Comprised of two of the bands dirtiest and, quite simply, heaviest tracks, it is music for tearing down physical walls. Each copy includes a complete CD that features both of the album tracks in addition to a "bonus" 17 minute track. Edition of 647 copies pressed on 180-gram RTI vinyl, housed in heavy art sleeves bearing new artwork by MICHAEL CANICH and letterpressed by Dexterity Press." - Three Lobed

"A brand new three-track release from Portland/ Brooklyn based unit, HEAVY WINGED, following a recent reissue CD, and the excellent Three Lobed release Blacc Lust. Feel Inside is a long playing journey into psych-noise dronedom, and has been hailed as being akin to the Bardo Pond brothers recording in the lo-fi/high-fuzz-induced kitchen of the Goslings. Packaged in double cover center opening sleeves with an outer vellum overlay shell designed and executed by CHASED MIDDAUGH. Single pressing of 600 copies." - Archive

"Theyre back. Heavy Winged has continued to stretch their leathery, scarred, er, wings and grow since their last release for Three Lobed Recordings, 2008s Alive In My Mouth. The band was determined to make Fields Within Fields into a significant part of their discography from the very outset. In October 2009, the band decided to enter the 5D Studios in Brooklyn to engage in what would be a first-time experiment - recording in a multi-track studio with overdubs planned from the sessions start. Prior to this experience the bands entire catalog was centered on displaying their ferocious live spirit. Having already proven themselves to be adept at creating grand and heavy statements in an improvised, one-take-only setting, they felt that were ready for the challenge of being both improvisational and composition-minded. The band hunkered down for the session and even brought in some friends to help augment the Heavy Winged vibe. Their time in 5D yielded the two dark fruits which combine to form Fields Within Fields. Brutal and hard, Among The Maori leads the album off and encompasses the entire first side of vinyl. The track opens with a slow, deliberate fade into Jed Bindemans (Eternal Tapestry, Jackie-O Motherfucker) tribal drumbeat. This beat may start controlled but the tracks velocity and volume continue to accelerate, eventually turning Among The Maori into a highly tuned jet engine. Ryan Heberts guitar playing is exceptional throughout, beginning with an initial prolonged banshee-like wailing and slowly building and fully giving way to a fantastically cranking and grinding post-metallic din by the tracks conclusion. Among The Maori stands out among the bands entire catalog as perhaps their truest moment. The albums second side is fully dedicated to the drone doom opus The Hum Of The Universe." Includes insert and bonus CD entitled Infinite In Every Direction." -3Lobed

"The Shaking, Waking LP consists of two lengthy tracks: "Tidal Blackness" is a 23-minute cloud of improvised guitar and bass drone, underpinned with sparse percussive elements and dappled with the rays of ethereal melodies. This track, recorded live in Oakland in 2008, represents the more gentle side of HEAVY WINGED in some ways and is largely soothing. The second side harbors "Morning Flesh," 18 minutes that veer towards the caveman Krautrock of the recent Alive in my Mouth LP, drums pounding, Neanderthal guitar chugging, though with a melodic haze drifting across the musical landscape like a lysergic mistral, leading the listener ever further into the shifting sands of the forbidden zone. Pressed on 180-gram transparent pale gray vinyl, limited to 500 pieces in a heavyweight matte sleeve." - Aurora Borealis.

"Two new long tracks from Heavy Winged, following up releases on Three Lobed, Archive, Not Not Fun etc. Massive and big-sounding stuff, but with more subtle and quiet openings and endings, and without ever loosing the abrasive feeling of being dragged in grit and dirt forever and ever. Driving and powerful proto-psych-metal that manages to sound very much improvised and extremely focused and precise at the same time. Both tracks recorded live, Loudun recorded in Davis, California on 6/30/08. Strigoi recorded in Annandale-on-Hudson, New York on 11/2/07. Limited one-time pressing of 500 copies. Dual Plover gatefold sleeve with black felt and artwork by Twin Vixen. Play it loud." -Release The Bats

"Heavy Winged are a sprawling North American trio made up of drummer Jed Bindeman, bassist Brady Sansone and guitarist Ryan Hebert. Over the last few years, the band have released a cacophonous splatter of cassettes, vinyl and CD-Rs for Not Not Fun, Digitalis, Aurora Borealis and a handful of other esteemed imprints. Most of these have been mercilessly grimy signifiers of their buzzing free-rock style, and were recorded poorly to almost accentuate the harsh guitar tones and double-time blast beats. This latest jagged offering, however, is a rare beast in the Heavy Winged canon, offering a higher-fidelity peek into their muddled world. This time around, the band escaped to a "real" studio to record two slices of extended sludge rock, which come across as wider than ever, thanks to some fresh recording techniques. Something like an unholy union between the sheet-noise of Yellow Swans and the blissful sub-harmonic transcendence of early Mogwai or Sonic Youth, Sunspotted is an album that takes tried-and-tested sounds and bends them beyond recognition. Sure, plenty of bands have made distorted, blurred, guitar noise before, but rarely with the conviction and wit of Heavy Winged. With their early explorations into doom and metal, we find the band on a high, framing their high-octane jitter into something that could almost be mistaken for beautiful. Just as the aforementioned Yellow Swans took their sound from the outer reaches of noise to something, dare I say it, pretty, Heavy Winged have focused their three individual powers to come up with an album that revels in its depth and shimmering beauty. It might take a few listens to reveal its layers, but Sunspotted is a challenging and rewarding listening experience. Standing at the top of the bands already estimable catalog of albums and EPs, this album finds them at a key moment, a moment where they have found a balance between fidelity and grit, harmony and discord. Step in, turn it up and let yourself descend. Cut at Berlins D+M." - Type.

"Today is the greatest. Cause time has come for total take off. Brooklyn/PDX instrumental interstellar overdrivers Heavy Winged deliver the most gravity-crushing pair of fight-flight journeys in their entire cumulative psych revolution thus far. And it is glorious. We Grow is the apex realization of every tectonic assault, wind tunnel vortex, and outer space meltdown HW have ever unleashed across the past 15 months worth of stunning CDRs, splits, and comp appearances. The A side, A Stretch of Time,slow-burns an ascent into explosive galactic violence, guitars, bass, and drums detonating into endless feedback fireworks. Then Shifting Cloudscloses the album, marching a drifting riff of haze and mass into a majestic no mans land of darkening space. A masterpiece record, and packaged accordingly. Blackened-blue vinyl LPs with collage center labels housed in full-color pro-printed jackets, in sleeves adorned with rad oval vinyl stickers." -Not Not Fun.

"glorious & glorified re-issue of the long-gone split CDR on MYMWLY. HW
turn in one of the most blazing ragers of their entire discography (the
version here is a fresh edit, FYI) and Alex/Remains spins a stunning,
spiralized tone-fog that gleams off the wax (plus theres an unreleased
bonus track!). on coke-bottle clear vinyl, in intricately silkscreened pic
disc sleeves adorned with elaborate full-color textile sticker
arrangements. limited to 300." - Not Not Fun.

Small warehouse find of this 2011 LP. "Deluxe vinyl issue of one of the most important albums of modern music and quite simply some of the finest computer audio excursions unleashed in recent years. Sun Pandamonium is the third full- length album from Florian Hecker, originally released in CD format on Mego in 2003. Sun Pandamonium also received the Award of Distinction Digital Music at the Prix Ars Electronica - the International Competition for CyberArts - the same year. Striking the listener from many angles with a diverse range of fiercely dynamic electronic scenarios, Hecker utilizes the computer to materialize new compositional strategies, leaving behind standard musical structures and seeking out unusual timbral and textural effects. As one reviewer stated, This record is electronic music as psilocybin science. Or, as the American online journal Pitchforkmedia states: Loud and overwhelming at any volume setting, Sun Pandamonium contains the sounds and frequencies not only of diamonds being sharpened, but then being used to etch directly on the lenses of your optical readers. Call him a sick fuck, a genius, or even Mister Antichrist, but this will cleanse the audio palate as it blows your teeth out. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 800 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged with six monochrome lacquered sheets which are housed in a silk screened PVC sleeve with the original artwork by Tina Frank & Florian Hecker." - Pan.

"The first chapter of SSTUDIOS (Software Studio Series), a new venture in the Software Recording Co.s expanding catalog. SSTUDIOS invites artists in the field of electronic music to create collaborative works of quality and vision. With a deliberate focus on source material of a synthetic and mimetic nature, Hecker and Lopatin designed a sound palette from the acoustic resonance of digitally-sourced instruments of the world. The intrepid cowboy sound-voyager was inverted, forging a synthesis with the ecstatic other; digested exotic instrumentation fuel the tepid journeys of a sampler tourist. Instead of leaning heavily on the proverbial Malian time signatures sublime truth, Instrumental Tourist pictures the synthetic veneer of exoticism as pushed air captured by oscillating ribbons. The studio meetings between Hecker and Lopatin were conducted to mimic the tropes and techniques of jazz-based improvisation, with little preparation prior. In an era where electronic production can produce the totalities of symphonic effect, and solo sound composition is easier than ever, the necessity of collaborative work is questioned. Could their own respective artistic pursuits be neatly compiled and encapsulated by the very sound bank paradigm that theyve exploited? Why work together at all? Instrumental Tourist finds two artists transcending their respective visions by agreeing to a new language, one which verbalizes their mutual infatuations and apprehensions with the systems theyve both built and are buried by." - Software, Housed in a deluxe gatefold sleeve; hand-numbered edition of 2000; includes download code.

“In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera -- a mutant configuration of two genetically discrete solo works -- was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and is now presented on LP. In Hecker Leckey Sound Voice Chimera, Hecker decomposes, modulates, and re-synthesizes the vocal track from Leckeys 2010 performance piece GreenScreenRefrigeratorAction (for which Leckey intoned the inner monologue of a black Samsung fridge) and his own 3 Channel Chronics installation from that same year, where distinct sounds from three speakers telescoping down from the ceiling were combined and altered by visitors movements. The resulting work -- like that three-headed beast of Greek mythology -- is a multivalent, tri-part hybrid in which heavily distorted fragments of Leckeys narrative intersperse Heckers synthetic textures and fidgety tonal patterns. On the PAN release itself, channel 1 from Hecker Leckey Sound Voice Chimera corresponds with side A and channel 2 with side B; channel 3 is available as a monophonic mp3 download. Florian Hecker returns to PAN following his 2011 vinyl issue of Sun Pandämonium. Trained in computational linguistics and fine arts, Heckers work deals with specific compositional developments of post-war modernity, electro-acoustic music, and psychophysical domains of audition. Mark Leckey is a British artist, pop-culture provocational agent, and self-described autodidact working across sculpture, sound, film, and performance. His notable video works (collaged from found material) include the 1999 cult short Fiorucci Made Me Hardcore (soundtrack available on The Death of Rave (LECKEY 001LP)) and Industrial Lights and Magic, for which he was awarded the Turner Prize in 2008. A career retrospective, "Lending Enchantment to Vulgar Materials," was presented at WIELS in Belgium, and his work is included in the collections of the Centre Georges Pompidou, Hammer Museum, and Walker Art Center, among others. He has served as Film Studies professor at the Städelschule in Frankfurt-am-Main, Germany, and is currently Reader in Fine Art at Goldsmiths, London. The first comprehensive monograph of his work, On Pleasure Bent, was published in 2014. Hecker Leckey Sound Voice Chimera is written and produced by Florian Hecker; GreenScreenRefrigeratorAction courtesy of Mark Leckey. Mastered and cut by Rashad Becker at D&M. Includes liner notes by art historian Alex Kitnick, and artwork by Florian Hecker and Bill Kouligas.” - Pan.

Limited repress. "In 2015, Room40 celebrates 15 years of editions and events; as part of the celebrations, the label is reissuing a number of editions in various formats that are out of print. One of these editions brings together two of the pieces the label had the pleasure to publish by Tim Hecker. These two works were both created in conjunction with Heckers visits to Australia and were released in limited quantities. The 2010 7" edition of Apondalifa basically vanished upon release. It was also originally split across both sides of the record. On this edition, cut by the wondrous Lupo at Calyx, the piece is available on vinyl for the first time in its extended format. Norberg was originally released in 2007 as a 3" CD; Room40s original description reads, "Recorded at the Norberg Festival (Sweden) amidst the mineshafts and cluttered buildings strewn throughout parts of the city, this 21 minute live piece summarises much of what makes Tim Heckers music so vital and compelling. Adept at counter-pointing the most ferocious of distorted platters with smooth beds of ambient sound and potent melodic overtones, Tim Hecker creates music with a vast depth. On Norberg, this depth seems almost endless, as layer upon layer of sound are compiled into a swelling and altogether visceral oceanic sound wave." - Room40.

"Tim Heckers latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. While the title of the piece Hatred of Music might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didnt at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckers continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Heckers oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording." -Kranky

"...cult classic album, generally believed by many Gong fans and French psych music fans to be the best Gong album out there. Released as a solo album by French beat figure Dashiell Hedayatt in 1971, "Obsolete" offers up a musical polaroid picture of Gong metamorphosing from whimsical slightly clumsy psych rock act to the floating space creature that went on to make Camembert Electrique (shortly after this LP), and the Radio Gnome Invincible Trilogy. This is in most respects a super-secret disguised Gong album, with Daevid Allen and cronies providing instrumental backing whilst poet Hedayat himself takes (mainly spoken) lead vocals. A hidden gem of the bands history. Canterbury historians will also be happy to note the presence of William Burroughs; Burroughs small cameo somehow makes the album shift into overdrive, taking the remaining part of the album "from breathtaking pulsing musical scenery to terrific jams that foresaw the coming supersonic fifth gear of the later Radio Gnome Invincible days: the side long Cielo Drive 17 pips the atmospheres from backyard dreamings to full solar voyages peeping awkwardly out the periscope - with Daevid Allen at his most relentless and Malherbe on a most inspired flute stint waaaay above the music like a distant satellite." Many rate this among the most important French rock releases—up there with Gainsbourg and Vanniers "Histoire de Melody Nelson", Igor Wakhevitchs Logos," and Magmas MDK." - Replica.

"New deluxe digipak version (on the long defunct Mantra label?) of this 1971 classic. The LP was originally released on the legendary Shandar label. Hedayat sang lead vocals, played keyboards and "cosmic-hedayat-rumble and cut-ups," coerced Daevid Allen and Gillie Smyth (of Gong), William Burroughs, Robert Wyatts son Sam and others to join him in recording this stoned, prog-psych masterwork of two long tracks. The memorable message: "This record must be played as loud as possible, must be heard as stoned as impossible, and thank you everybody" is still intact. A classic deserving of its cult." - FE.

"New remastered CD version (from original tapes according to the cover info), in cardboard sleeve (aka "vinyl replica" packaging); edition of 999 copies. "When Obsolete was published in November of 1971, the reporter from the magazine of reference, Superpop Hebdo (Superpop Weekly), questioned the repetitive aspect of this disc. He couldnt know that this musical approach would take flight thanks to English and German groups like Hawkwind, Amon Düül, and soon after, Gong, in France, whose founding members (Daevid Allen, Didier Malherbe, Pip Pyle, Gilly Smith, Christian Tritsch) accompany Dashiell Hedayat. From this space-rock album is torn Chrysler Rose -- a little known masterpiece in its day, but which has today become a cult anthem to the joint at all hip celebrations, revered by multiple generations of partiers. Humor and derision exist alongside the unreal on Love Song for Zelda, realized with the help of William Burroughs, author of the hippies must-have bedside book Junkie. Drugs are omnipresent in the hallucinatory texts of Dashiell Hedayat. The musical and lyrical composition date from the autumn of 1969, from whence the choice of the title Obsolete. An avant-garde disc so cool, itll never go out of style! After having composed a second, very rare, opus under the pseudonym Melmoth (the beginning of intoxication), Dashiell Hedayat has since adopted a different type of writing, and today has authored novels and Hollywood screenplays under the name Jack-Alain Léger." -Mantra

"Originally only available as an artist-released CD, The Rings Of Saturn spans a lengthy narrative of music prepared over the years 1997-2008. Infusing early field recordings along with recently completed studio compositions, this new album of cinema pour loreille (cinema for the ear) transports the listener to discrete locations that evoke rich memories and sympathetic recollections. This remastered vinyl edition is pressed on clear wax in a beautiful, full-color jacket. Available initially during the recent Christoph Heemann US Tour (October 2010), The Rings Of Saturn is one of Heemanns finest and most anticipated new solo works." -Robot

"This new CD edition features an additional 13 minutes of music not included on the previous LP and artist-released versions. The Rings of Saturn: Complete Edition encompasses a lengthy narrative of music prepared over the years 1997-2012. Infusing early field recordings along with recently completed studio compositions, this new album of cinema pour loreille ("cinema for the ear") transports the listener to discrete locations that evoke rich memories and sympathetic recollections. This freshly remastered complete edition updates one of Heemanns finest and most anticipated new solo works. Packaged in a Japanese style tip-on mini jacket reproducing a beautiful variation of the original album artwork." - Robot.

"Christoph Heemann & Andrew Chalk of Mirror each remix a track from the Brendan Walls Cassia Fistula CD (see self released Walls CDR listed below) for this limited edition vinyl 7". The A side features CH Heemann taking control and moving things into the darker regions of the of the expanse that is CASSIA Fistula (golden shower tree for those who dont know the Scientific lingo). Heemann slowly disintegrates all that is tangible and leaves us with an empty black ocean. Mr. Chalks mastery of organic sound bliss transforms the pure golden tones of Cassia Fistula in order to weave the very thread that holds this universe together. LTD Edition of 300 copies." - Idea.

"After reading that Bob Dylan’s forthcoming album, Tempest, will include a 14-minute song about the Titanic, comedian Tim Heidecker set out to record an equally epic song about the ship, to “see if I could beat the master to it.” The rhyming ballad begins in 1912 and ends in the present day with James Cameron’s decision to re-release The Titanic (1997) in 3-D. “I can’t wait to see how close I got to the real thing!” The album also includes a cover of Dylan’s All the Tired Horses (1970), along with previously unreleased songs inspired by: the failed sequel to suburban biker movie, Wild Hogs (2007); life at home; an assignment from a friend; and fear of death and earthquakes. Heidecker (Tom Goes to the Mayor, Tim and Eric Awesome Show, Billion Dollar Movie, is also half of the soft rock band, Heidecker and Wood. 2012, edition of 500, vinyl only." - Orion Read

"Poème-Partition X was created by Bernard Heidsieck during 1960 and recorded in October the same year. A few excerpts of the 1st and 4th movements were performed on November 22nd, 1960 at the Quatre Saisons Gallery in Paris, during the Festival of Avant-Garde Art. Poème-Partition X might be considered Heidsiecks first major work, whose duration (more than 40 minutes long) never allowed the author to give a public reading of it. Its destination was a record (released by Alga Marghen in 1996, starting the VocSon LP series, 36 years after its creation)! Alga Marghen is proud to now present this new edition of Poème-Partition X, extended to the CD format and included in a luxury 96 page hardbound book, limited to 350 copies. The book reproduces for the first time the complete score, a visual wonder and a major experimental printed work. Bernard Heidsiecks memories of an historic lecture at the Jean Tinguely atelier is included as an introduction, as well as his testimony on Ian Sommerville and Brion Gysins Dream Machine. Also on the CD is a lecture of extracts of Poème-Partition X accompanied by the saxophone of the American painter Larry Rivers. This recording from 1962 was not included in the LP edition and is here presented for the first time. In August 1962, Bernard Heidsieck went with John Ashberry, the American poet, to dinner at the studio of Jean Tinguely and Niky de Saint Phalle. Larry Rivers had a studio in the same place and was also there. Tinguely prepared grilled meat, skewered on one of his rotating sculptures. After dinner Rivers returned to his studio and began to play, alone and for himself. He earned his living, at the time, by playing sax at an after-hours jazz club. So, while he was playing Bernard Heidsieck joined him in his studio and suggested that they do an improvisation together. Something that Heidsieck had never done before, and has never done since! Larry Rivers immediately accepted, and an appointment was set up at Heidsiecks home a few days later. August 6th, 1962. A dinner party was organized for the same guests who had been at Tinguelys place and this unique 17 minute improvisation was recorded, but until now never released. It was, however, presented at the first Fylkingen Text-Sound Composition Festival in Stockholm in 1968. Luxury hardbound edition limited to 350 copies." -Alga Marghen

"Incendiary confusion amidst pointless data. A dumb nothing of electronics and vital intoxication. “I dont care.” Vitrine kicks off its summer batch of releases with the latest cassette from Swedens Heinz Hopf. Dan Johansson and Matthias Andersson have been steadily contributing invaluable work to the experimental community, both local and international, throughout the 2000s, either via projects such as Johanssons Sewer Election, Anderssons Arv & Miljö, or the latters Release the Bats and IDDB record labels. For the past five years, Johansson and Andersson have been collectively delivering the next best thing to a bag full of Elkbrews and some MSNP tapes. Theres constant movement which never leads to progress as dense sound drops out to half-seconds of silence, following which the listener returns to another spot on the map, as if such a relocation mattered. High-yield noise without some vague pretense towards darkness or taboo. Limit points without the notion of a dotted line. It would be apt to call this a manifestation of pure, libidinal energy, if it wasnt all so gloriously drunk and retarded. Sound for sounds sake. Pleasure for no sake at all. Vitrine is nothing but proud to release thirty minutes of Gothenburgs finest. Limited to 100 copies. " - Virtine.

"A few months after his contribution (I Hate You) on Matthias Schaffhäusers Warenkorb #4 , the new Cologne-based label Eventuell is proud to present the first longplayer of visual artist and electronic musician Andreas Heiszenberger from Nürnberg. Heiszenbergers concept of House might remind of Jan Jelineks Farben and Ekkehard Ehlers Betrieb , but is also characterized by his refreshing DIY-approach, experimentalism and very own humour and, its not only because of Heiszenbergers vocals that Solokarriere will suit fans of Justus Köhncke or the new Kompakt Pop serie. Next to the electronic and dance tunes youll find short, narrative interludes of soundpoetry and fieldrecordings together with his regular use of unusual samples, Solokarriere defines a completely new way of compiling a longplayer in electronic music. The record comes in a very special gatefold-cover with sticker, with paintings by Andreas Heiszenberger who also studied with German artist and musician Albert Oehlen (Leiterwagen Records). On the inside youll find a documentation about his visual art work (many coloured paintings and drawings) and a text by Wolfgang Brauneis (in german). This first edition is limited to 280 copies plus 20 copies numbered and signed special edition with an original drawing by Andreas Heiszenberger (now sold out). Eventuell is run by the tonschacht-crew and will be specialised in artists records. Forthcoming releases are planned with Sven-Ake Johansson, Jason Forrest (aka Donna Summer), and a collaboration between Blank with Raymond Pettibon and Tobias Rehberger (together with Grob)." - Eventuell.

"Deluxe reissue of the legendary 70s California bedroom psychedelic album restored/remastered transfer and never-before-heard demos. 32-page booklet contains dozens of unpublished photos and images and a thorough investigation into this exceedingly rare artifact. ...banging garage downer LP from the twilight zone ...raw & wasted." - Paul Major. Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publishers reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, weve visited the house where this confounding album was recorded, found Heitkotters musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. Its safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies - was the culmination of one Stephen David Heitkotters artistic career. Ross Dwelle, Stephens childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio trying to play five songs written by a man losing his mind...probably stoned the whole time. Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it - is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as outsider art. Its a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephens backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephens music is as close to the sublime as American rock has ever ventured." - Now-Again.

“Gatefold double LP version; includes a 16-page booklet and download code. "Deluxe reissue of the legendary 70s California bedroom psychedelic album restored/remastered transfer and never-before-heard demos. ...banging garage downer LP from the twilight zone ...raw & wasted." - Paul Major. Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publishers reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, weve visited the house where this confounding album was recorded, found Heitkotters musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. Its safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies - was the culmination of one Stephen David Heitkotters artistic career. Ross Dwelle, Stephens childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio trying to play five songs written by a man losing his mind...probably stoned the whole time. Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it - is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as outsider art. Its a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephens backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephens music is as close to the sublime as American rock has ever ventured." - Now Again.

Single LP version (not including the deluxe versions "bonus LP"). Includes a 16-page booklet. "Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publishers reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, weve visited the house where this confounding album was recorded, found Heitkotters musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. Its safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies -- was the culmination of one Stephen David Heitkotters artistic career. Ross Dwelle, Stephens childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio trying to play five songs written by a man losing his mind... probably stoned the whole time. Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it -- is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as outsider art. Its a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephens backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephens music is as close to the sublime as American rock has ever ventured." - Now-Again.

"Reissue of this legendary super-rare private press. A three-piece band plays sprawling, inept baked blues led by a mysterious mental patient. Housed in an ultra heavy cardboard sleeve on 180 gram vinyl, with an insert of insightful and speculative liner notes -- the most information youll ever find about this mythic record. Truly one of the great outsider creations ever spawned under a full moon." - FE. "The circumstances behind Heitkotter are obscure and confusing: all that is known for certain is that Steve Heitkotter recorded the LP sometime before 1971, when he and his reluctant brother Bill took unsolicited promotional copies to eight local FM station in Californias San Joaquin Valley. Whoever else may have participated is a mystery: Steven had spent the mid 60s drumming for Fresno garage mainstays the Road Runners, so he had some connections left, but the time after the Runners had reportedly brought him to psychotropic drugs and mental instability, and his family doubts that he was on good terms with enough musicians even to organize a drag jam of messed up desert loner westcoast churning and meandering, like a Magic Band gig falling apart (Paul Major). The LPs murky sound and symbiotically disintegrating musicianship do seem to suggest that the session was cut live to four track, but Bill Heikotter swears that Steve was a loner at the time, alienated from his former bandmates, and that he recorded the album entirely by himself. That makes the amnesia of the musicians, who intermittently forget how to play their instruments, all the more curious, as Steve himself was a good guitarist and quasi-professional drummer, though the influence of drugs, fatigue, or apathy seems plausible enough." - Time-Lag.

"After our acclaimed reissues of the previous three LPs by Richard Pinhas project Heldon, here is their fourth LP originally issued on Disjuncta/Urus in 1976. Agneta Nilsson is an interesting step in Heldons development: it gives a twist to their classic sound, which was mainly built around Pinhas Fripp-esque guitar work and ambient synth experiments to begin to explore a more rhythmic territory. Drums and bass take more presence here, offering a rockier feel, but somehow retaining the mysterious ambience of its predecessors, while adding an extra touch of sinister aggressiveness. Featuring among others Magmas keyboardist, Patrick Gauthier, it starts pretty much in the same ambient, spacey, minimalist electronic mood of the previous Heldon releases, but as the development of the main title Perspective goes ahead the move towards the more guitar and drums sound of the next to come Heldon sound is evident. Agneta Nilssons sound has been described somewhere as a more sinister Tangerine Dream mixed with a more jammy King Crimson. Our reissue comes housed in a faithful reproduction of the original sleeve. It is made in a strictly limited edition of only 500 copies." -Wah Wah

"Allez-Téia, the second album by French guitarist Richard Pinhas under the Heldon moniker, was originally released in 1975 on the artists own Disjuncta imprint. Far from the bands prog-tinged trio lineup, Allez-Téia features a menagerie of guitars, Mellotron and analog synthesizers.While opening track In the Wake of King Fripp pays homage to King Crimson in its title, the albums heady textures and rhythmic meditations are more reminiscent of the German Kosmiche movement (Cluster, Harmonia, et al.) and post-rock experimentalists, such as Jim ORourke and Gastr del Sol. Acoustic guitar even makes a rare appearance?on the beautiful and melancholy Aphanisis. With front cover artwork depicting the events of May 68 in Paris (by renowned photojournalist Gilles Caron), these dark ambient sounds make Allez-Téia perhaps the most revolutionary release in Heldons influential catalogue, foreshadowing Pinhass incredible solo work for decades to come." - Superior Viaduct.

"After our string of releases centered around the diverse German 70s scene, were happy to introduce the next installment in the Wah Wah LPS reissue series. This time we move over to France to re-discover the beginnings of one of the most adventurous, influential and innovative French bands of the seventies: Heldon. Centered around guitarist Richard Pinhas and featuring a floating cast of regular collaborators (Didier Batard, François Auger, Patrick Gauthier, Alain Renaud, Georges Grunblatt; Coco Roussel amongst others), Heldon will marry Pinhas personal obsessions of modern philosophy (Deleuze, Guattari), science-fiction (Norman Spinrad, Philip K.Dick), progressive rock (King Crimson, Fripp & Eno), American minimalism (Terry Riley, Steve Reich) and electronic music into a diverse musical cocktail that goes from the violent to the relaxed, but always retaining a dark and mysterious vibe. Often linked by critics and listeners to the experimental German bands of the era (Tangerine Dream, Ash Ra Tempel..), Heldon will release six crucial albums before being closed down by Pinhas in the late 70s. Since then, Pinhas has developed a long solo career that lives up to this day, releasing several albums and collaborations (Pascal Comelade, John Livengood, Maurice Dantec), including with Japanese noise king Merzbow. Dedicated to Robert Wyatt, Heldons debut contained a puzzling collection of tracks that serve as a perfect introduction to Pinhas universe: science-fiction, philosophy and musical experimentation collide in a harsh lo-fi tapestry of sounds dominated by Pinhas 1954 Gibson Les Paul guitar and AKS synth. Not unlike some contemporary German bands, Heldon manages to take rock n rolls language to a new experimental stage. Convulsive and evocative soundscapes recommended to all lovers of innovative and ground-breaking music. Strictly limited to 500 copies. High quality sleeves reproducing the original artwork from 1974s first press on Disjuncta. Includes insert with extra liner notes by Spanish journalist and long-time Heldon fan Paco Peiró. Bonus 7" EP with tracks taken from Heldons predecessor band Schizos two EPs. 7" tracklist: A1. Schizo (and the little girl) A2. Paraphrenia Praecox (originally released in 1972) B1. Le Voyageur B2. Torcol (originally released in 1973)" -Wah Wah

"RICHARD PINHAS is an artistic iconoclast. A French intellectual as likely to collaborate with Magma as the radical philosopher Gilles Deleuze, Pinhas released seven albums under the HELDON moniker in the 1970s that flaunt the mastery of progressive rock and early electronics while still being thoroughly avant-garde. The genre-expanding innovation of his 70s output is best encapsulated on Interface, the groups sixth album (and second with the stripped-down trio featuring drummer FRANCOIS AUGER and keyboardist PATRICK GAUTHIER). Interface is a sonic tour de force where Heldon avoids every logical category vis-a-vis infinite climaxes and rhythmic explorations that sound impossibly futuristic. As with much of the Pinhas music from this period, Interface is heavily influenced by the guitar treatments of Robert Fripp (King Crimson), especially those in collaboration with Brian Eno. More experimental than virtuosic, Pinhas applies feedback and a jazz-like looseness to create otherworldly soundscapes. Interface is loud, dark and unrelenting with a maximal approach to minimalism that would go on to inform the cold wave scene in the late 70s. Few recordings are as menacing, although certainly Miles Davis Dark Magus and Lou Reeds Metal Machine Music come to mind. It is Heldons most crystalline work, building to the epic crescendo of the title track. Many fans consider this to be their masterpiece, but more importantly, Interface is a record that will continue to unfold for centuries to come. Includes download card." -Superior Viaduct.

"RSD 2015 release. Souffle Continu is very excited to present two special vinyl editions of live recordings of French heavy space prog band Heldon -- this 1975 recording and Live in Paris 1976 (FFL 008LP). This historic recording documents one of the rare Heldon concerts of the mid 70s era. Formed at the time of guitar loop master Richard Pinhas (Mellotron, ARP 2600 synthesizer, AKS, and guitars) and Alain Renaud (guitar and analog keyboards), Heldon deliver five tracks of guitar freak-out melded with hypnotic synth themes. Never before released on vinyl. Pressed on mixed blue and white vinyl; presented in 350g sleeve with obi strip. Limited to 1000 copies." - Souffle Continu.

"RSD 2015 release. Souffle Continu is very excited to present two special vinyl editions of live recordings of French heavy space prog band Heldon -- this 1976 recording and Live in Paris 1975 (FFL 007LP). Heldon took rock music and mixed it with analog synthesizers in a very special and unique way. Recorded live at Le Palace, Paris, 1976, this two-track recording documents the raw, acidic, psychedelic sound of Heldon, consisting at the time of Richard Pinhas, Patrick Gauthier, and François Auger. The fantastic second track, "Distribution Deterritorialisation, based on a repetitive synth-line, even deserves to become an instant classic. Plays at 45 RPM. Never before released on vinyl. Pressed on mixed purple and white vinyl; presented in 350g sleeve with obi strip. Limited to 1000 copies." - Souffle Continu.

"This release marks the third release from Souffle Continu Records, the newly-founded label by the Parisian record shop. Perspectives, the companion EP to the Heldon IV/Agnetta Nilsson LP, came out in 1976 and saw Heldon toughening its music with the appearance of sequencer and Moog. "Pure savage electronic energy," as would later describe Dominique Grimaud and Eric Deshayes. Now almost impossible to find, this record is available again for the first time in almost 40 years in its original shape in an edition of 700 copies, pressed on solid orange vinyl." - Souffle Continu.

"This release marks the second release from Souffle Continu Records, the newly-founded label by the Parisian record shop. Following Third, Heldon brought out this EP Soutien à la RAF in 1975. Radical, highly political, organic and hypnotic, heavy electronic prog, this record, like Le Voyageur by Schizo was distributed free of charge at the time. Now almost impossible to find, this record is available again for the first time in almost 40 years as an exact replica of the original artifact in an edition of 700 copies, pressed on solid red vinyl with an insert." - Souffle Continu.

"After our acclaimed reissues of the first two LPs by French electronic rock pioneers Heldon, we are proud to offer a lavish vinyl version of their third album (also known as Its Always Rock n Roll), where Pinhas and Co. follow the same paths he created with Electronique Guérila under the strong influence of works by Robert Fripp and Brian Eno, and of course the contemporanean Krautrock movement. For those of you following our line of releases there will be no need to say that composer, guitarist & electronics innovator Richard Pinhas is recognized as one of Frances major experimental musicians and is a pivotal figure in the development of electronic rock. This third delivery of Heldons works was first released on Disjuncta in 1975 as a double LP and features Richard Pinhas (ARP & VCS3 Synthesizers, guitars, bass, Mellotron) and George Grunblatt (Mellotron, guitars) plus contributions from some other greats of the genre like Patrick Gauthier (ARP synthesizers), Gilbert Artman (of Lard Free fame on drums), Jean My Truong (also on drums) and Ariel Kalma (Indian Harmonium). The double LP set came housed in a beautiful 7-ink gatefold sleeve that we will faithfully reproduce in full glory (that is, including the two extra gold & silver inks print). Four page insert with notes by Paco Peiró relating the story of Pinhas early years is included. Only 500 copies will be pressed! Once they are gone, they are gone -- do not miss it!" - Wah Wah.

“I have been playing pop music with some friends and we made a 7″. We’re playing under the name Helen.” — Liz Harris of Grouper
Also features Scott Simmons (Eat Skull, Pacific City Nightlife Visions, etc.) and Jed Bindeman (Eternal Tapestry, etc.) and recorded with Chris Gunn (The Hunches)

"When I was a child, I spoke to Helen.
"Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (backup vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members and their friends Nick, Chris, and, largely, Justin Higgins. Written together, some songs based on Liz and Scotts demos." - Kranky.

"When I was a child, I spoke to Helen.
"Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (backup vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members and their friends Nick, Chris, and, largely, Justin Higgins. Written together, some songs based on Liz and Scotts demos." - Kranky.

"Underground filmmaker, publisher and poet Piero Heliczer (1937-1993) was one of the seminal figures in the New York magical scene of the sixties which also included Angus Maclise, Ira Cohen, Jack Smith, The Velvet Underground etc. His poetry is rich with images of visionary inner landscape journeys with traces of medievalism, surrealism, British 17th century metaphysical poets, the beats etc. Most of his books were self-published on his own the dead language press which he founded in the late fifties. This is the only reading of Piero Heliczer we managed to track down. Edition of 100 copies." - Sloow Tapes.

"Yume takes its title from the Japanese word for "dream" and delivers an otherworldly ambient-electronic hybrid thats cinematic in scope yet intimate in emotion. In making the album, composer and multi-instrumentalist Keith Kenniff (the sole artist behind Helios) has created a warm sonic tapestry from luminous guitar lines, elegant piano work, ingeniously-crafted rhythms, and lo-fi electronic elements. Though Kenniffs graceful maneuvering of mood and tone lends Yume a journey-like quality, the album offers pieces as captivatingly disparate as "Pearls" (which blends heavy beats and lilting piano melodies; cascading guitar riffs and airy atmospherics) and "Embrace" (which closes out the album with a glimmering expanse of sound). Built from both electronic experimentation and live instrumentation, Yume also constructs its richly-detailed textures by drawing from a repertoire of sound that ranges from toy tambourines to serendipitously-recorded environmental noises. Raised in rural Pennsylvania, Kenniff put out Helioss 2004 debut album Unomia while studying percussion at Bostons Berklee College of Music. Since then, hes released five more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for such clients as Paramount Pictures, Apple, Facebook, and Google. CD includes two extra tracks." - Unseen Music.

Original, sealed copies of this 1989 release. "The second solo album by CHROMEs guitarist, this time with his group slimmed down to a trio, this was released in late 1989, though it was recorded over a year earlier. Just as aggro, acid-fueled and flat-out weird as anything that Helios had done before, this opens with a long, untitled and unlisted mix of tape manipulation and effected-beyond- recognition guitar before jumping into the savagely hard acid rock of "Monster Lust" and "Mustard Dog." The rest of the album is even more feast for fiends, with explosive hard rock, tons of backwards and super-effected guitar, tape manipulation and found sounds, culminating in the rip-it-to-shreds "Weekends." - Subterranean.

"2013 release. Proto-industrial guitar-hero Helios Creed first came to prominence in 1978 with Chrome, a brilliant acid-punk band whose use of primitive electronics, heavily distorted guitar, moog, apocalyptic tape loops, and copious amounts of acid, was unlike anything that had ever come before. From 1978-1982 Chrome released one brilliant LP after another, before finally splitting up in 1983. Creeds highly anticipated first solo LP, X-Rated Fairy Tales, basically picked up where Chrome left off, only this time with a more driving industrial sound. 180 gram HQ vinyl LP + bonus CD of the album." - Lilith.

"After a garish trio-supposed to be a Melee plus Kelley---date in Western Mass it was only a matter time before this trio got together to do the scrape and crunch. Its interesting to see how Kelley approaches the 1/4 speed lurch. In comparison with Olson and Wooley its a bit more fireworks
oriented but there are plenty of glacial exhalation, abrasions and slow wallops to extend the gravenights vocab. Also where Wooley and Olson are fully complicit Kelley is a bit more argumentative--in the best way
possible--in doling out his own formal demolitions that end up with almost downtown moments of cross-pollination and genre car crashes." - Brokenresearch

"A big classic from the psychedelic era, the SUPREME PSYCHEDELIC UNDERGROUND exploitation album is said to have been recorded by DEEP PURPLE, which band members Jon Lord, Ritchie Blackmore and Ian Paice have always denied. In any case, this sounds more PURPLE than Lord & Co. themselves! Very close to the sound of SHADES OF DEEP PURPLE, it contains some great Hammond works, guitar pirotecnics with loads of wah wah and distortion and psychedelic vocals. The whole album is a sonic blast that will appeal to fans of Deep Purple, psychedelic hipsters and of course general collectors and afficionados." - Wah Wah.

"This is a very harrowing, very out record. The title track covers all of side one, and it is a heaving, heavily-effected monolith of sound, which as the needle draws closer to the inherent black hole of the record, seems to pulverize all the sounds and grooves and then shoot them back out at you as tiny sonic shrapnel. Side two is broken up into more readily digestible pieces, an d showcases Ms. Hellers ability to coax sounds out of clarinet, guitar, theremin, keyboard, castanets, and tapes, all to varying degrees of effect. A track like Vestigial Digit features some low-in-the-mix guitar laid under a wigged and sinister keyboard quiver. Phosphene Damage on a Primal Wave harkens back to the tapestry of side one. The tape insects of the last piece let you down and show you the door back out to the silence." - Luna Kafe.

"Hellvete is one of the three members who founded the Flemish Funeral Folk collective and a key figure of the satanadelic combo Sylvester Anfang II. Similar to the mothership, his solo work spans from folk-inspired guitar drones to minimalist keyboard esoterica. The significant difference is that his solo songs are more composed and less improvised. De Gek (meaning The Fool) is an epic trip through the different zones of the Hellvete Empire: layered guitar eruptions mix in with modern classical orchestration and dark folk tales. Influences such as Stephen R. Smith and Manuel Göttsching result in abstract sound narrations, that might just as well make one think of medieval folk or Rock In Opposition. On this debut LP all the aspects of what has been baptized the Belgian dronevolkscene culminate in an extraordinary exploration of the Self: a sonic exorcization of old demons and a return to the nostalgic peace of the country side. De Gek is a new interpretation of the modern psychedelic idylle. The Rochefort 10 of the new Belgian guitar folk tradition." - Kraak.

"Helm is the ambiguous solo moniker of London-based sound architect Luke Younger. Although, perhaps best known as one half of the pioneering avant-drone outfit Birds of Delay, it is in the more esoteric work of Helm that Lukes art takes on its most radical shape. 2010s debut LP To An End confirmed that in an age of fleeting trends and fly-by-night fancies, there were still a few old souls prepared to knuckle down and deliver the goods that people want to receive. Cryptography carries forward that noble mindset, presenting a new five-part suite of expertly rendered electro-acoustic study. Using processed piano, Casio MT-40, cymbal and guitar strings Cryptography steers the Helm sound through a melange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in classic UK post-industrial fashion. Indeed, had it been conceived of 30 years prior, it would be easy to imagine Cryptography winning a seat in the United Dairies, or Dom America catalog, such is its commitment to homemade exploratory zeal. Cryptography arrives in a full color sleeve, with insert, in a hand-numbered edition of 400 copies." -Kye.

"Impasse is a sideways journey into the archives of London-based artist LUKE YOUNGER, aka HELM. Conceived six years ago in the wake of a BIRDS OF DELAY tour, the album originally saw the light of day in an abridged version as a mini-CDR on the Low Point label in 2008. This remastered and expanded reissue has the two original tracks along with two others from the same sessions that remained unmixed until a couple of years ago. Impasse appears as somewhat of an anomaly in the Helm canon when viewed alongside recent live performances and his work for labels like Pan and Kye. Where other works explore the mystery inherent in everyday sounds and acoustic phenomena, Impasse is significantly brighter in tone. Consisting of four loop-based pieces, the record invokes the same fantastic worlds found in Terry Rileys or Boyd Rices early ambient pieces. Picture a functional family vacation, an explorer at the apex of his endeavors, a 4:00 AM drinking session with new liquids discovered. Bright corners, euphoric angles and ecstatic drones come together for an emotionally charged high that reflects these unique moments in the human experience. The beauty of Helm lies in its implacable curiosity, the way his music observes the current state of being. Released in a limited edition with artwork by GRAHAM LAMBKIN, Impasse is another sublime offering from one of the UKs sharpest cats." - New Images.

"Impossible Symmetry is the third full length record by Helm, the project of London-based artist Luke Younger. It marks a new chapter in the artists canon as its his first to be informed by live performance rather than studio experimentation. The recording and engineering was primarily a solo venture, with some technical assistance from John Hannon on a few tracks. Most of the compositions were created out of ideas/improvisations that were conceived in a live context and then fed back into the studio work. The album was recorded over the duration of a year in London with source material culled from acoustic sound sources in a similar methodology to his previous album, Cryptography, while also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early Coil and Cabaret Voltaire to even Traversable Wormholes industrial minimalism. His last LP, Cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. This sound is steered through a mélange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. For the past ten years, Younger has also performed extensively in Europe and the U.S. with Steven Warwick as pioneering avant-drone duo Birds Of Delay. The LP was mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with photos by Traianos Pakioufakis and artwork by Kathryn Politis and Bill Kouligas." -Pan.

"Warehouse find, last copies. Impossible Symmetry is the third full length record by Helm, the project of London-based artist Luke Younger. It marks a new chapter in the artists canon as its his first to be informed by live performance rather than studio experimentation. The recording and engineering was primarily a solo venture, with some technical assistance from John Hannon on a few tracks. Most of the compositions were created out of ideas/improvisations that were conceived in a live context and then fed back into the studio work. The album was recorded over the duration of a year in London with source material culled from acoustic sound sources in a similar methodology to his previous album, Cryptography, while also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early Coil and Cabaret Voltaire to even Traversable Wormholes industrial minimalism. His last LP, Cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. This sound is steered through a mélange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. For the past ten years, Younger has also performed extensively in Europe and the U.S. with Steven Warwick as pioneering avant-drone duo Birds Of Delay. The LP was mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with photos by Traianos Pakioufakis and artwork by Kathryn Politis and Bill Kouligas." - Pan.

Pressed on 140-gram vinyl. "London-based experimentalist Luke Younger (aka Helm) returns to PAN with Olympic Mess, a record born of destructive practice, competing desires, and troubled optimism. Where his previous effort, 2014s The Hollow Organ (PAN 050EP), dealt in dense, distressed sonics, Olympic Mess is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes that unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them. "Its about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between ones personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos." Crafted using an array of heavily processed samples, found sound, and electroacoustics, personal conflict manifests in "I Exist in a Fog" and "Outerzone 2015," in which visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening in Reverse" and "Fluid Cloak" offer no such relief, while the title-track and "Dont Lick the Jacket" are mineral, multilayered abstractions twisting around a brittle pulse. Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, Olympic Mess was recorded in London, New York, and Berlin by Sean Ragon, Luke Younger, and John Hannon. The album is mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. It features photography by Kim Thue and artwork by Bill Kouligas.” - Pan.

"Helm is a new project from Luke Younger who also plays in Birds of Delay. Heavy punishing drone screech noise. Limited hand numbered edition of 50. Comes in professionally printed 4" by 7.5" sheet folded to make a small black booklet." - Blackest Rainbow.

“Rawabet is a live album from Helm documenting a special performance that took place alongside Maurice Louca in front of a sold-out audience at the Rawabet Theater in Cairo on October 22nd, 2015. This document is also a snapshot of a period of pan-continental touring which took Helm from Egypt to Austria and then to Canada in three days. During these shows, material from his recently released Olympic Mess album (PAN 063CD/LP, 2015) was re-imagined, expanded, and performed alongside new and "other" material, to add an alternative perspective to the original recordings. What ended up being performed in Cairo on October 22nd owed a lot to the energy of the city and the superb recording and mixing job by Khyam Allami. Rawabet can be seen as the definitive live document of Helm to date.” - Alter.

"Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka Helm presents his first new material since his Impossible Symmetry (PAN 027LP) album. Issued as a split release between PAN and his own Alter label, Silencer documents four studio actions conducted in the wake of his renowned LP, charting the alchemical relationships between base, stripped-down rhythms, cruddy electronics, and acousmatic source material manipulated on cassette tapes. Features foghorn brass from John Hannon of Liberez and metallic scrape from Tom James Scott. On clear vinyl." - Pan

"PAN presents four vital concrète incursions by nether field-traveler Luke Younger aka Helm, marking his first transmissions since the studio rituals that birthed his highly-acclaimed Impossible Symmetry and Silencer releases. The Hollow Organ toes a deliberate line in the mud between his previous transgressions and a chokingly dank realization of his most untoward, paralytic sound. Poised as a dark interpreter between the grotesque and the transcendent, he activates research gleaned from his petrifying live performances coupled with an increasingly squalid and visceral palette of anguished machine voices, sub-zero drones and bone-scraped rhythmic noise to divine, unearthly space somewhere between semi-legal horror soundtrack and hyperstitious surreality. Its opening gambit, "Carrier" is the most succinct and uncannily ambiguous; perilously close to Gas-like ambient pop but rescued from serenity by manic tape spool and an excoriating, demonic vocal. The vortex of "Analogues" proceeds, ploughed by stereo-twinned engines of churning tape loops to a pitch-black, eschatological climax, and "Spiteful Jester" feels like the unshakable onset of a panic attack, ratcheting the intensity with a blank-eyed, stoic method. For ten minutes "The Hollow Organ" drains last with an unnerving, quiet blood-letting of carmine iron drones evaporating ferric overtones while percussions clank in your blind-spot behind the screen." - Pan.

"Recorded across East London, South-East Kent and Snaresbrook Crown Court during what is described as the UK medias attempt at divining integrity from the orchestrated turbulence of Brexit, with the record setting out to juggle the documentation of this particular moment with the desire to discern motivation from despair. World In Action takes in field recordings, woodwind freakouts and percussion from Valentina Magaletti amongst other elements." - The Quietus.

"Hematic Sunsets is an alias (an anagram to be exact) for German Soundartist Asmus Tietchens from Hamburg. Tietchens is a self taught artist with more than 50 LP and CD releases on numerous labels (Nurse With Wounds United Dairies, Sky Records, the Mille Plateaux sub-label Ritornell, Staalplaat, Selektion, recent albums on Richard Chartiers Line label and a massive reissue series on Die Stadt, to name but a few). His solo works are mainly concerned with the manipulation of concrete sounds and (most recently) pure sine waves (on his Mengen series) and their placement (assemblage?) in time and space.
While his solo efforts are often austere formal works (yet never lacking a twisted humour),Hematic Sunsets is a different beast altogether. Reminiscent of his Sky-era attempts with rhythm and melody, the Aroma Club series is Tietchens warped, almost parodic (per)version of lounge music. Each record of the series is based on the sounds and rhythms of one particular (preferredly cheap) organ/keyboard, usually a Yamaha product (this time its the PSR 36). While the last Club LP was recorded with several guests (Felix Kubin, Michael Rother...) and the 2007 X-mas 7" was a collaboration with long-time "producer" Okko Bekker, "Aroma Club Paradox" is another solo effort (collaborating with several fictitious anagrams/characters though).
The result is a timeless and completely unique take on muzak using cheap keyboard sounds usually associated to drunk wedding bands or your grandmothers home organ family music. Tietchens elaborately transforms the cheesy associations into cold, bloodless, almost unhuman pop tunes totally lacking the sensationalism and pseudo-fervour of most music, especially modern pop music.
Limited edition of 500 copies in baby blue heavy vinyl!" - Dekorder.

"Hematic Sunsets is Asmus Tietchens. The music he releases under this name is sometimes similar in style to the Pop Music he produced in the early 80s during his SKY phase. This is the third LP release on his own Klang Der Festing label following Musik aus dem Aroma Club (KdF1) and Rendezvous im Aroma Club (KdF2) which were both recorded by himself. With Zu Gast im Aroma Club he, for the first time, invited guests to join him in his club: Michael Rother, Okko Bekker, Felix Kubin, Jetzmann, Stefan Ebinger." - Klang Der Festung. Highly recommended! 2004 release.

"Compilation of great recordings by Jesse Mae Hemphill. Mississippi Hill Country blues at their finest. Jessie Mae rocks out on the electric guitar with minimal percussion. By far some of the best blues recorded in the 80s. Jessie Mae is the granddaughter of the great Sid Hemphill and the torch bearer of one of the most beautiful traditions in the world of music. Co-release with Moi JConnias. (This LP was previously released by them with a silk screened cover).” - Mississippi.

“One of the essential albums of 70s jazz. The music of the late great saxophonist and composer Julius Hemphill presents a strong combination of blues roots, free energy and bop complexity. Recorded in New York in 1977, Raw Materials and Residuals explodes with the tension generated between Hemphills unique reeds, Abdul Waduds deep pizzicato, and Don Moyes frantic drive. "One of the great titles in modern jazz chronology." -All Music Guide.

"Multi-instrumentalist, band-leader, and composer Sid Hemphill (1876-1961) was for decades the musical patriarch of the Mississippi Hill Country. He and his band -- comprised of Alec Turpentine Askew, Will Head, and Lucius Smith were fixtures at dances, picnics, and frolics throughout the right triangle formed by Memphis, the Delta, and the Hill Country. This LP features Alan Lomaxs first recording of Blind Sid in August 1942, near Sledge, Mississippi, where the Hemphill band was appearing at a country picnic. By that date hundreds of commercial records had been made of the music of the Delta, and the preponderance of those were of or relating to the blues form, with guitar or piano accompaniment. Lomaxs recordings were the first made of the Hill Countrys local music, and contributed to a broader perspective of black vernacular instrumentation with their inclusion of the fiddle and banjo of the string band, the fife and drum ensemble, and the cane panpipes or quills. This music is wild & loose & of a style seldom heard. Includes liner notes insert by Nathan Salsburg." -Mississippi.

"First released in 1967, Watch The Stars is a remarkable long-lost gem from the mid-sixties British folk revival. A beautiful collection of folk, blues and haikus, the album melds a folk-boom topicality with a fine beat sensibility; uniting the Afro-American West Coast with suburban London. Long out-of-print, the record is an early milestone in the careers of Dorris Henderson and John Renbourn. On Watch The Stars Dorris and John are joined by the classical guitarist Tim Walker and Danny Thompson (from Pentangle) on double bass. Contains two songs written by Anne Briggs and an early cover of Arthur Lees Message To Pretty. For this carefully remastered edition Fledgling have restored all the elements of the original artwork and added several previously unpublished photographs. Not previously available on compact disc. Deluxe slipcased packaging." - Fledgling.

"pieces inspired by recent employment in the lower ranks of a flower factory. cdr in 12" sleeve, includes an assortment of collage cards. great improvs and three tracks of unaccompanied yelling." - Lrrc. Jason Henn from Elephant Micah. Numbered edition of 50. 2006 release.

"jasons work as kitchen typists has always juxtaposed humorous with harmonious sound environments. often noisy, always changing. this disc includes the audio from first announcements, originally a 78 rpm 10 inch lathe hand-cut by nemo at time-lag records. lots of other material on here, too. black cdrs. 50 copies made." Jason Henn from Elephant Micah.

"Seattle-based Simon Hennemans first solo vinyl release is here. Mr. Henneman has worn many hats in the musical vortex of the Seattle sub-underground, most "famously" as one of the Diminished Men, who released an LP on the Sun City Girls Abduction label in 2009. That LP gave the lucky few who procured a copy an idea of the talents of that great band. Here, Mr. Henneman strikes out on his own and creates a solo journey of a much more intimate palette. Playing every instrument on the record (guitars, bass, saxophones, clarinet, percussion, keys), Mr. Henneman evokes a mood and mystery unmatched. From the ethno jazz/noir played in a Turkish harem vibe to the soundtrack for flipping through a Raymond Carver novella illustrated by Raymond Pettibon, this LP slithers into the subconscious and throws you against a back alley wall to seduce you into making a real bad decision seem OK! Limited edition of 300 copies only." -Assophon.

"The latest work from composer Sarah Hennies is percussion in the sense that a contemporary definition of “percussion” has the potential to include almost anything that isnt already defined as some other instrument (cello, piano, clarinet, etc.). Hennies draws parallels between queer identities and being a percussionist in that both are most often defined by what they are not.
The two sides of the tape are 20-minute blocks of sound/activity seemingly without direction. A-side “Falsetto” is for “low-quality” bells found at thrift stores and flea markets while the title track explores a harder-to-define space. Edition of 200" - No Rent.

“Central Palace Music, performed by Catherine Christer Hennixs just-intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via Important Records. This previously unheard piece was taken from an eight-day festival organized in the spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe, and Hans Isgren on sheng. Central Palace Music is packaged in a deluxe letterpressed sleeve.
“”She has created a sound that reliably taps into our subconscious and frees us from linear time" --The Quietus. Catherine Christer Hennix (born 1948 in Stockholm) is an artist, poet, composer, and philosopher with a strong interest in logic and formal music theory. In late-1960s Sweden, she was a pioneer of experimenting with mainframe computer-generated composite soundwave forms, and in the 1970s she was a key protagonist of the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with master vocalist Pandit Pran Nath and led the just-intonation live electronic ensembles Hilbert Hotel and The Deontic Miracle (featured on this recording). She was a professor of mathematics and computer science and assistant to and coauthor with A. S. Esenin-Volpin, for which she received the Centenary Prize-fellow Award from the Clay Mathematics Institute in 2000. Hennixs interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, including, for example, Japanese gagaku music and the 13th-century vocal music of Pérotin and Léonin.” - Important.

“Live At Issue Project Room is the first recording of the expanded configuration of Catherine Christer Hennixs Chora(s)san Time-Court Mirage just-intonation ensemble, documenting a 2014 performance at Issue Project Room. The ensemble of Hennix (voice) and Hilary Jeffery and Robin Hayward (brass) is expanded to include vocalists Imam Ahmet Muhsin Tüzer, Amir Elsaffan, and Amirtha Kidambi; brass players Paul Schwingenschlögl and Elena Kakaliagou; and Marcus Pal and Stefan Tiedje on electronics. Live At Issue Project Room is packaged in a deluxe letterpressed sleeve.
“”She has created a sound that reliably taps into our subconscious and frees us from linear time" --The Quietus. Catherine Christer Hennix (born 1948 in Stockholm) is an artist, poet, composer, and philosopher with a strong interest in logic and formal music theory. In late-1960s Sweden, she was a pioneer of experimenting with mainframe computer-generated composite soundwave forms, and in the 1970s she was a key protagonist of the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with master vocalist Pandit Pran Nath and led the just-intonation live electronic ensembles Hilbert Hotel and The Deontic Miracle. Hennixs interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, including, for example, Japanese gagaku music and the 13th-century vocal music of Pérotin and Léonin. In 2003 she returned to computer-generated composite soundwave forms or "soliton(e)s," of which Infinitary Composite Sound Wave Form Composition Soliton(e) Star (2003-present) was the first result. She subsequently formed the Choras(s)an Time-Court Mirage just-intonation ensemble; in 2012, Important Records released a performance by this ensemble of "Blues Dhikr Al-Salam (Blues Al Maqam)" as Live At The Grimm Museum Volume One (IMPREC 354CD). In 2012 Henry Flynt asked Hennix for a new, expanded realization of an "Illuminatory Sound Environment" for an installation at the ZKM in Karlsruhe, Germany, for his "Henry Flynt. Activities 1959 --" exhibition. In response Hennix realized a four-channel composition, Rag Infinity/Rag Cosmosis, her first four-channel computer-assisted composition since 1969.” - Important.

2013 repress. "Blues Dhikr Al-Salam (Blues Al Maqam) for voice, brass, computer and live electronics in the mixed-media environment Nur/Soliton(E) Star. The world premiere of the infinitary computer animation NUR and the accompanying infinitary computer sound composition Soliton(E) Star were given at Diapason Gallery (NYC) for the celebration of La Monte Youngs 70th birthday in 2005. Catherine Christer Hennix has now extended this installation in the venerable tradition of the pentatonic blues for a live-electronic ensemble. Recorded live on Sunday August 14, 2011 at the Grimm Museum, Berlin." - Important.

"2nd pressing with new lower pricing. After the limited art edition quickly sold out, The Electric Harpsichord is now reprinted -- in its complete form -- in a new elegant white boxed edition. Known to the very few, The Electric Harpsichord is possibly THE obscure masterpiece of early American minimalism. Recorded live in 1976 after many years of study under the guidance of Pandit Pran Nath and La Monte Young, it has finally found the perfect home in the Die Schachtel catalog, now in an elegant white boxed 56-page book+CD edition, that gives the work the space and merit it deserves as a unique work of art, complete with two poems by La Monte Young especially written for this edition, and an extensive essay by Henry Flynt. An improvisation performed on just intonation-tuned keyboards put through time-lag accumulators similar to those used by Terry Riley, Hennix has produced one of the most remarkable pieces of music to emerge from the La Monte Young school of minimalism. A Sweden-born composer, who studied in the tradition of Xenakis and Stockhausen in the 1960s, Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970, and pursued studies with both men during the 1970s. While the use of the time-lag in Rileys works such as "A Rainbow In Curved Air" results in an experience of blissful, focused, samadhi-like calm, Hennixs drone work has more in common with the chaotic fluxes of psychedelic experience or the mandalas of Tibetan Buddhism. This is a moving eternity, a pulsating, shifting-something like a raga perhaps, insofar as a raga is a specific deity invoked into sound, fluttering inside the matrix of the drone. Catherine Christer Hennix: keyboard and custom sine wave generators. Recorded live at Moderna Museet, Stockholm, Sweden. Mastered by Giuseppe Ielasi." - Die Schachtel.

"The stamina-defying screamer of Japanese noise and longtime vocalist for HIJO KAIDAN joins wrecker of civilization and one-third of THE DUSTBREEDERS for two sides of very pleasant unpleasantness. MICHEL HENRITZIs improvised guitar-playing is the real surprise here, with its curiously cinema-conscious restraint, hovering around the perplexing intersection of an imaginary Giallo scored by Morricone and the calm brunch entertainment at a grim eastern European cafe. Quite a deviation from the "glorious, unholy racket" of his vinyl-noise trio. JUNKO, meanwhile, colors the foreground with her trademark bird-getting-strangled-by-a-dentist-on-a-chalkboard vocals (say whatever you want, comedian, shes heard it all before) but here shrieks with almost zero adornment, to the point where she achieves an unusual variation on repetitive minimalism. The sublime tension between the two players forms a rarely heard, abject desperation that seems impossible to satisfy. Edition of 100." -lEsprit de lEscalier.

"49 minutes of raw and crude rhythm-scaping noise-dub from Wolf Eyes John Olson. The first vinyl presentation of John Olsons primitive basement techno unit, Henry & Hazel Slaughters Endless Power Cycle is the beat of degradation. These are sounds of the roots of south-east Michigan musicians exploring electronics, which diverged into the distinct worlds of Detroit techno and circuit-bending outsider noise, brought back together here by this true home-state hero." -Fedora Corpse.

2016 repress. "The first, 1973, release by Britains most enigmatic and unclassifiable band. Formed in 1968 by two Cambridge students, Fred Frith and Tim Hodgkinson, Henry Cows original influences included the likes of Soft Machine and Frank Zappa. However, in their undying quest to push the boundaries of conventional music, members soon took out their machetes and began hacking a new trail into an unmapped wilderness of sound. The band was thereby also staunchly anti-commercial, never compromising their sound to please anyone but themselves, and it is precisely because of this that they have gone on to influence so many musicians on the outer fringes of rock & roll on both sides of the Atlantic, particularly the NY experimental music scene." - Recommended/Goodfellas.

"Limited to 400 copies. This ten-LP box set, presented in a deluxe book-like folder in an outer box, covers half a lifetime in musical history. It is more than a regular retrospective; it shares Pierre Henrys personal listening, organized by theme and technology. The box set emphasizes previously unpublished works, and highlights comparisons and contrasts between them. This ultimate anthology covers the first 35 years in the career of the French mastermind of electronic and electroacoustic music, the avant-garde, and musique concrète, enhanced by careful remastering and restoration in correspondence with the artists intention and approach to the recordings. Transparency, detail, and logical history are the substance of this release." - Vinyl-On-Demand.

"Last available copies. "The 22-minute Haut-Voltage is a product of Henrys collaboration with French choreographer Maurice Béjart, recorded in 1956 for one of Bejarts stage productions, and featuring the vocals of Henry himself. By 1958, Henry had left Pierre Schaeffers RTF and had begun working in his own private studio. Coexistence, recorded in 1959, comes from this new period, when Henry had begun to realize that in order for musique concrète to evolve, it would have to begin to use electronics. Coexistence is one of Henrys first attempts at bringing the two together."" - Doxy.

"Pierre Henrys 1953 Veil of Orpheus is the first example of symphonic musique concrete, the use of non-traditional sources and real sounds like trains, dogs barking, footsteps, etc., in place of actual instruments and then electronically manipulating these sounds in new ways. It was originally composed for the opera Orpheus 53, which was written with movement founder Pierre Schaeffer for the Donauescliingen Festival. Despite the quantum leaps made in the field of electronics over the past 50 years, this initial experiment still manages to convey its original importance. The piece uses concrete sounds much in the same way a traditional orchestra would use individual instruments. Besides two versions of Veil of Orpheus (the original 27-minute version and the second 15-minute version used in the Maurice Bejart-Pierre Henry ballet Orpheus in 1958), there are two shorter pieces -- Entity and Spiral -- which evoke an unsettling search for meaning that is so often associated with Henrys work." -Doxy.

On 180 gram vinyl. "After being out of print for decades, Pierre Henrys 1962 Le Voyage is finally available again on vinyl. Based on the Tibetan Book of the Dead, Le Voyage deals with the souls journey between death and reincarnation in the next life. Just two years prior to the recording of this album, electronic and musique concrète pioneer, Pierre Henry founded the first private electronic studio in France, realizing that, if he wanted musique concrète to evolve, he would have to begin experimenting with electronics." - Doxy

“Cacophonic presents Maléfices, an outstanding film score by Pierre Henry, often overlooked in lists of the composers work. The score is a dream record for fans of early electronics, female vocal manipulation, and horror soundtracks. Widely recognized as one of the original sonic architects of the movement known as musique concrète (having joined Pierre Schaeffers initiative as early as 1949), Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and popular music. Initially using the media of modern dance and spoken word as a platform to contextualize his tape-music mutations (notably in unison with Maurice Bejart), Henrys fusion of academic with thematic ideas led to the birth of electronic sound design for film and theatre, exemplified most prevalently in the macabre. His score for Henri Decoins 1962 film Maléfices (Where the Truth Lies) (starring Juliette Gréco) is the missing link between his earliest avant-garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth. It rivals such cinematic sound as Daphne Orams work for Jack Claytons 1961 horror film The Innocents, and features Henry at what is perhaps his most melodic, fragile, and enchanting (especially for this unforgiving, formative era in his career). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind, and brooding, industrial treated piano textures, Henry magnifies the films intoxicated, hallucinatory narrative. This concise set of complete themes is presented here, fully remastered for the first time, alongside rare excerpts from two of the composers very earliest and least obtainable forays into theatrical sound design: instrumental parts of Henrys first stereo reconstruction of Maurice Bejarts 1961 ballet Orphée, and his seldom-heard concrète interludes from Darius Milhaud and Max Gérards opera Mariage de la Feuille et du Cliché (1958).” - Cacophonic.

"Musique Sans Titre, composed in 1951 at the Studio dessai of the RTF, was one of Henrys earliest attempts at musique concrète. Spatiodynamisme, on the other hand, was based on the 1954 recordings of a Nicolas Schöffer sound sculpture. Metallic parts, mirrors, lights and sounds emanating from a 50-meter building interacted with the environment and visitors. Henry recorded various grating and scraping sounds from the metallic sculpture and then manipulated them for this piece, which was influenced by Italian Futurist Luigi Russolos LArte Dei Rumori." -Doxy.

"Aurora Rising present the first vinyl reissue of LOccident Est Bleu/LAn Cinquante-Six, originally released in 1958. Pierre Henry is most popular among rock fans for his collaboration with the English band Spooky Tooth in 1969 but he already had a great reputation as a composer and performer in the field of modern classics, musique concrète and pioneering electronic avant-garde. So it is obvious that there have been quite a few albums by him and in cooperation with other artists not necessarily from the field of music. LOccident Est Bleu/LAn Cinquante-Six features sound contributions by Pierre Henry, and spoken word performances by popular French actors Michel Vitold and Silvia Montfort based on two texts by fellow actor and singer Claude Pascal. It can be seen as an audio book rather than a regular music record backed with sounds. All the texts are performed in French and they focus on dark themes. The musical part of this album is also quite intense with a haunting atmosphere, droning and disturbing at times. The drone and musique concrète aspects show the roots of what should become cosmic music in the late 60s and early 70s performed mostly by artists such as Tangerine Dream. And indeed there are a few moments here that remind me of the classic Zeit (1972) by Edgar Froese and his mates. A sound experiment, a twisted and creepy manifestation of weird thoughts in something that is loosely connected to music. A challenge for sure, but if you love the obscure and have a heart for avant garde music you are welcome to this first ever reissue of a long time vanished record. Includes two bonus tracks." - Aurora Rising.

"Since 1971, Pierre Henry has lived and worked in one of the remaining buildings in the Picpus area of Paris. Not only the composers workshop, a place to create music, his four storey house is a true museum of sounds, objects and assemblages put together by this genuine innovator. In addition, with the audience seated in separate rooms, the house occasionally serves as a venue for concerts generously conducted in his own home.
The book is a meeting between the camera of Bergjord, who seems to track the invisible through the object, and this oneiric world created by Henry in his house. The result creates its own imaginary structure, moving room by room, like a visit in the house, from macro close-ups to overviews. A seemingly endless flow of photos � accompanied by a CD with previously unreleased pieces by Henry." -Gilka.

"Originally released on Frank Zappas Straight! Records in 1969 and limited to 1,000 copies, Farewell Aldebaran is an inspired one-off project by singer Judy Henske and (ex-Association and Lovin Spoonful member) Jerry Yester. Henskes amazing vocal range and the albums wonderfully eclectic feel (while still firmly rooted in psychedelia) makes one wonder why Henske & Yester did not become bigger stars. A true cult item, combining the help of guest musicians of the calibre of Bernie Krause (Beaver & Krause), Solomon Feldthouse/David Lindley (Kaleidoscope), Ry Cooder and Dick Rosmini. Now reissued for the first time ever on vinyl!" -Klimt

“Recorded between summer 2012 and spring 2013. Second work of audio composition by Herbal Research, Cristiano Carosi solo project. 15 minutes of assembled sounds split on 2 sides, divided in small distinct chapters where he creates new connections between familiar sounds and noises of the western musical language of our days; audio fragments, re- contextualized and masked in digital editing.

Voices, synthesis and percussions filtered and debased during the process of sampling using a delay Digitech PDS 1002 in loop mode, layering several audio fragments and keeping margins of aleatoriality left by the leak of syncronization.

"One of the most gifted abstract sonic pilots from the Vacationland stable, Portland, Maine, artist MATT LAJOIE enjoys a larger-than-Sasquatch reputation for his free folk personality and unpredictable takes on Spectrasound techniques. Although he and his merry band are one of the most charismatic tribes of the New England underground-you gotta see them live-they blossom from psychedelic occurrences that lead to bursts of pacifist oblivion which can only be redeemed inside their studio output. The momentum Lajoie deploys in his polar expressions indicates a supply of time-manipulated balance. An accretion of bucket brigades warping wildly at first breath, generally considered a condition of primitivism, this is searchlight abandonment with purely spirited jams more akin to the tapers pit than slam continuance. In fact, the only thing slammed here (other than the muted poetry echoing like buoys in Golowins harbor) are the in the red meters on fire signs from fire music providing ease with earth, wind and air. Long may we inhale. "This is a heady atmosphere, an atmosphere for heads, and it not only delivers the contempo dreamlike aspect at the apex of its form, but transcends it to those revolving with them. Take this fucker for a spin."-Matt Valentine, Vermont, 2011.
"Limited edition of 500 copies. July 2011 US tour dates in the works." -Hello Sunshine/Woodsist

"December 2009: Inspiration dependently arising; Blows Against The Empire in one hand, Admiral Richard Byrds secret diary in the other. Days after returning to Maine after three heavy months on the road, Matthew Lajoie (Cursillistas) awoke one morning having dreamt the existence of a lost 1973 private press concept record about the exploration of inner Earth and the advanced civilization thriving at its center. Agartha; Shambhala: the domain of the Arianni. Using Byrds account as the thematic framework for the album, he feverishly poured forth a representation of the dreamt record, writing and recording the entire LP in a single 24-hour period - guided by sonic Ouija. The result is a cosmic antenna with dials tuned to the Planet Earth Rock & Roll Orchestra, obscure psych-prog spacecasts, and classic rock radio, all refracted through the dusty, cracked and scratched Cursillistas prism. Performed entirely on a borrowed thrift store electric guitar and broken microphone, Herbcraft Discovers The Bitter Water Of Agartha was birthed in the Now to scatter the seeds of Agarthas message in our Aquarian Dark Age." - Hello Sunshine. New label run by the folks at Woodsist.

"This 43-minute cassette compiles previously-unreleased material recorded between the Discovers... Agartha LP and the first live band performances. Includes live rehearsal tape versions of two songs from the LP, plus five brand-new songs. Recorded at New Wyrd 33, February-March 2010." -Fuck It tapes.

"Heresy of the Free Spirit is a trio comprised of Dutch lute player, Jozef Van Wissem and Brooklyn based multi-instrumentalists, Che Chen (of True Primes) on violin, bowed rawap, bass recorder, percussion and tape machines, and Robbie Lee (of Howling Hex, Baby Dee) on portative organ, bass recorder, guitar, banjo and electronics. Using early European as well as non-western instruments and electronics, the trio plays arrangements of Van Wissems lute compositions as well as free improvisations that draw on early music, folk traditions, minimalism and noise. Fully utilizing the extended techniques, unique textures and tuning possibilities of their unusual instruments, the trio use both repetition and silence as ways of entering trance-like states. Their record, A Prayer for Light is a radical re-imagining of early European and American primitive music in which the sources are stretched and re-purposed to accommodate free improvisation, extended, repetitive song forms, and tape manipulations." - Incunabulum.

"As the essential PERE UBU rhythm section from the 1970s through the early 1990s, SCOTT KRAUSS and TONY MAIMONE collaborated during Ubus early 1980s hiatus as HOME AND GARDEN, where they blazed their own trail of avant-rock-not without some assistance from Clevelands art-rock creme de la creme. "Flim Flam" was originally written by Krauss and JIM JONES (during the sessions that yielded Pere Ubu songs "Come Home," "Kathleen" "Last Will and Testament," and "Fedora Satellite II") although it was never submitted to Ubu for consideration. Its appearance here, with Jones on guitars and keyboards, and KEITH KORNAJCIK handling the vocals and lyrics, is the first. On the flip, "From Blake" showcases the guitar, bass, and sax talents of founding Pere Ubu guitaris TOM HERMAN (who also led the avant-rock power trio TRIPOD JIMMIE with Len Bove). Assembled around LINDA HERMANs performance of a poem by William Blake, the song is a tour de force. Includes free download code." - Jupiterian.

"Psychedelic minimal electronics from the early 80s by Dutch
artist Hero Wouters. The LP comes on crystal clear vinyl, with two inserts
and a beautiful sleeve with an artwork by Maaike." -Enfant Terrible.

"I was pretty impressed right off the bat by the artwork and lo-fi promo material sent along with this. The kind of aesthetic and attention to detail usually reserved for high school notebook covers or Dungeons and Dragons character sheets. Then you notice that this was actually recorded at Used Kids by Mike Rep?! I thought that was odd, but after you listen to this you realize it does have whatever you want call the Columbus "vibe", which is just another way of saying this is music made by weirdos. Semi-inept garage-rocking with a heavy metal influence. The Gizmos if they wrote songs about swords and sorcery instead of muff diving and partying? Early Rep/Jay catalog if they were more concerned with horror movies and fantasy novels instead of Lou Reed? Midnight doing Penetrators covers? Only in Ohio, Ill say that for sure. Mid-tempo rockers with dum-dum riffs, an eccentric singer who actually pulls this shit off sounding great and just goofily enough to make you really like his style. Backing vox are wonderfully dumb as are most if not all of these tunes. Rep gets the most out of these guys, making it sound just cruddy enough, guitar is solid, drums have just the right trashy sound, bass holds it all steady. There are at least ten songs here I love out of fourteen, which are all listenable at the very least. "A Quarter Werewolf" is the hit, "Zombies Gots To Eat", "Witch" (not a cover), "Welcome to My Grave", "Wormhole", all winners. "Rock Assassins" is their tough guy statement, and Im a believer. Loner-outsider-whatever garage-punk rock, this thing is really likeable for obvious reasons. I dont think theyre trying really hard to be funny-dumb here, I think theyre just trying to kick ass and fucking succeeding at it, with maybe a few laughs along the way. Id buy this on vinyl in a second, as long as they include the lyric sheet and band photo (pictured), which are very entertaining in their own right. Another one of those bands you could mistake for a KBD-punk classic if you didnlt know they were modern. Recommended to the highest degree!" -Rich Kroneiss, TERMINAL BOREDOM (Review of the CDR version from earlier this year).

"Heroin In Tahiti is a death surf duo from Rome, Italy, composed of Valerio Mattioli and Francesco de Figuereido. In Roman mythology, the murder of Remus by his brother Romulus is the key event that led to the founding of the city of Rome. But what if Remus overcame Romulus? Easy: rather than Rome, wed have Remoria, the city that never happened. Well never know what Remoria would have looked like, at least compared to the Rome which still stands there 27 centuries after the ominous brothers sacrifice. But perhaps, the ghosts of Remoria still harbor under the so called Eternal City, as a kind of deforming mirror of the events, the shapes, the geometries, and the values which lay on the surface. In their new "alternate history LP", Heroin In Tahiti explore the negative occult side of their native city, portraying the myths, the legends, the heroes, and the tragedies of that original "what if", and sink into the abyss of Romes psyche and griefs." - Grandangolo.

"The Portuguese guitar is a kind of weird instrument. It has a teardrop shaped body, twelve strings, an odd tuning scheme, and is generally associated with the mournful Portuguese musical style called fado. Its not often used as an improv instrument, especially in avant-garde settings, but that was before Victor Herrero got his hands on one. Probably best known for his work with Josephine Foster, Victor is a Spanish guitarist and composer, whose work ranges from very traditional to beyond contemporary. On a trip to Lisbon a decade or so ago, he and Ms. Foster became enthralled by the glittering tone qualities of the Portuguese guitar, and decided to go halves on one. A lot of wood-shedding and investigating various musical forms ensued, as the guitar traveled around Spain and then the rest of the world with the pair. It was used as part of a show with Keiji Haino in Japan. It figured into a recording session with some of the Master Musicians Of Jojouka. It was noted performing duets with saxophonist Sonny Simmons. And so on. Removed from its parochial context, the instrument showed itself to be an incredibly limber and adaptable axe. Astrolabio is an album of solo compositions and improvisations for Portuguese guitar that defies easy classification. Its tone is so bright and folky it almost sounds like a hammered dulcimer in spots, but Jean Ritchie would probably keel over if she heard this record. At times, Victors playing emphasizes the ethereal beauty of the strings natural vibrations, but he can also create insane rafts of sound with Northern African rhythms crossing swords with chunks of string sound as mysteriously fried as anything ever done by Loren Connors. Totally boss, and unlike anything weve ever heard before. Prepare thyself to deal..." - Byron Coley, 2016. Edition of 500.

"Gnomic no-fi plunk, wheeze, rattle and moan courtesy of an unfortunately monikered (well...at least to English language readers anyway...it probably means something just lovely in Finnish...) supergroup comprised of Jonna Karanka aka Kuupuu, Laura Naukkarinen aka Lau Nau and Merja Kokkonen aka Islaja that draws from the seemingly eternal well of stoned detuned mischief that feeds the viaducts of the Finnish underground. The sheer density of acts positing variants on this same post-Amon Duul/Siloah-like freakout stylee there gives rise to questions of bandwagon hopping, but thats a discussion for another time. For the here and now, this first release of theirs is a choice manifestation of heavy-lidded third-mind acoustic weirdity thats as ungainly as it is mystically/chemically blasted." -De Stijl

"6 Songs taken from their one and only Cassette on the DISKRET Label, recorded in 1981. 20 Minutes of pure Minimalism. "Unter der Achsel" aka "Die Urgesile" appeared on the rare KASSETTENTÿTER Vol.1 Bootleg LP. This one is a SYNTHETIK TANZHAMMER if you know what I mean." - WSDP.

“Limited edition of 100. Heute is an ongoing minimal synth project run by Georg Alfred Wittner alias GAW and Rolf Schobert alias Der Musikant. Since the beginning of the 80s Heute have released several remarkable and outstanding tapes on their own Bu/Bu Musikverbreitung label and on other labels such as Biber Records, Schrott, Kassetto Fix and Intoleranz! The latter released their classic tape Noch ist Polen nicht verloren in 1983. This limited double LP combines almost all their great tracks recorded between 1982 and 1985. Also available as part of the Bu/Bu-Musikverbreitung - Recordings 1980-1985 box (VOD 142LP).” - Vinyl-on-Demand.

“Limited edition of 400. After ten years of planning and intensive artists-convincing, a dream for many collectors of minimal synth music and has become reality. A vinyl box with early-80s audio formerly released only on super-rare and highly collectable tapes and 7"s by two of the most radical minimal synth artists from South Germany, Rolf Schobert and Georg Alfred Wittner, with their projects Heute and Der Musikant (solo project of Schobert with name variations as Der Künftige Musikant, Der Lustige Musikant, Der Ewinge Musikant). Almost four hours of greatest minimal synth-based tunes (two LPs each by Heute and Der Musikant plus a bonus Heute 7") compiled by VOD from more than ten different early-80s tape releases, all released and distributed on their own Bu/Bu Musikverbreitung label in the early-to-mid-80s. The label and artists released their very own style of minimal "präzisionsmusik," music as unique as minimal synth only can sound, standing the test of time, managing the path between the past and the future. Emotionally loaded, rhythmic, straightforward tracks, with superbly schizophrenic, antagonistic, and neurotic lyrics.” - Vinyl-on-Demand.

"Hevoset is the duo of two of the most enigmatic individuals of the Finnish Underground, namely Jan Anderzen and Jani Hirvonen, both hailing from Tampere. Anderzen is ringleader of a mysterious multitudinous beast known as Kemialliset Ystävät (Fonal Records), a part-time member of Avarus and Islaja and records solo as Tomutonttu (Ultra Exzema, Beta-Lactam Ring Records) with a new album coming out on Dekorder this year (hopefully). Hirvonen is best-known under his Uton monicker with two LPs on Dekorder and a stream of releases on Last Visible Dog, Digitalis, Ruralfauna, Jewelled Antler, Pseudo Arcana and his own Ikuisuus label.
While most one-off meetings between so-called experimental and improvising musicians often sound like bad excuses for a few beers and endless jams this is quite the opposite - a heavy weight championship finale of two like-minded whizkids cross-fertilizing each other with idea after idea, leading to some of the weirdest and quixotic recordings you will have heard of the two.
Everything you loved about Kemialliset Ystävät, Uton and Tomutonttu is contained in Hevoset.....and more. Rural psychedelia, out-of-tune plucked and strummed strings, overloaded organs and effect pedals, Jani Hirvonens sweet wordless vocals, ecstatic improvised drone collages, bells, backward loops, jungle percussion and tons of unidentifiable sounds and noises shaped into tight 4 - 6 minute tracks." - Dekorder.

"The second self-released album by vibraphonist/composer/arranger Phil Hewitt. Originally custom pressed in a run of one hundred pieces. Archival reissue with reproduction of the original hand-painted cover.... Masterpieces in deep/modal/spiritual jazz from a teenaged wunderkind, recorded and released from 1968-1970." -Now-Again.

"Southern Illinois native ZAC NELSON is a drummer, and knowing that you should also know that he is a madman. One of the few known photos of him looks like a cult leader or someone who might know a thing or two about eating diamonds. While he is a current member of WHOS YOUR FAVORITE SON GOD and PRINTS, HEXLOVE is Nelson all by himself going nuts. Nelsons enthusiastic mania is not just in the realm of Keith Moon-ness but as a multi-instrumentalist who channels Dennis Wilson, Neil Michael Haggerty, and post-Vision Creation Newsun Boredoms, and combine it all and play it off like it was mixed by Tod Dockstader. No one is ever going to think you should listen to Knew Abloom on nitrous because it already sounds like its on nitrous. Simply put, Hexlove is unlike anything and sounds exactly like right now should." - Holy Mountain

"Hey, sometimes everything gets a little too much and the ol nostrils feel constricted and the stomach feels empty and inside out. Just step out of it [like a transparent sphere]. I was always told to use a warm towel. However. What is this Hexlove shit doing to me right now? Putting me on the ropes, yo. West Coasting Zac Nelson double-doses and lifts this rump roast with layers of sprite-like bliss wafting; a come-and-go series of ghosts over spans of time then in fact here comes a complete cosmic sine-flute journey. I dont know, maybe Vangelis and Klaus Schulze get fed each others good vibes and then, oh yeah, the realness of the sound and a weight or extreme heaviness. Walls, sheets, large tarps of these good vibes get spun by a sampler dish of Sunroof-esque absolute humnburn clatter, completely searing, straight-up whopper, and somewhere around the near edge of celestial submerged polyorchestral non-existence emersion into microshard peaks of looping bucolic, stoney walk-on-the-water synth(?) fragment melody permeation you -- eventually, no matter where you are -- youre pretty much lost in a mellow excitement/familiar space I think someone whispered my name - type deal. All the mentioned unfolds in one 39 minute track." -Loren Shimanek

"If one were dim enough to go about explaining the new double LP from Hexlove/Faulouah by pointing up parallels between it and the future-thinking music which has surely influenced its creator, I imagine the task wouldnt be too daunting. One may first notice that Free Jazz From Slavery is awash in the sublimely complex percussion patterns of 20th century composers like Harry Partch, Eugene Kurtz, and Iannis Xenakis. Or one might wonder if Zac Nelson, the man in the cockpit of this thing, hadnt been listening to Another Green World since he was in the womb. And certainly it wouldnt be a stretch to say that the jibing spirit of early-80s Pere Ubu experimentation is all over the more flippant efforts like Dont Say I Didnt Warm Yah and the watery blurb that opens the record, Aztec vs. Dolphin. This, though, is the wrong way to go about listening to or talking about any of Hexlove/Faulouahs work. Musical ancestors are worn proudly on Nelsons sleeve, but as eagerly as he celebrates them, he also delights in taking them, along with himself, down a peg. The snarky punning of the albums title, the faux-shamanic chanting and cooing, the deliberately murked-up and buzzing arrangements, all belie an agenda that involves not only a glad embrace of the less austere reaches of avant-gardism but a pointed critique of its elitism and intellectual posturing. Tracks like the doom-laden Lots of Wings Carry Seeds, which pulses like the metabolism of some slumbering extinct beast, display a staggering sense of grey beauty but are quickly undercut when Nelson begins to take a more blithe and self-deprecating tack. This, though, is not to the records detriment; it never falls into mere novelty or self-parody. The sheer technical brilliance, evident on every track, earns quite a big spot on Nelsons cheek to put his tongue in. The most glorious moments, though, are those in which he is able to marry these two tendencies, as on the desperate and busy Grump up the Volume, which opens the second side of the first record. And this is just the first record. All doubts that may have been lingering about Nelsons seriousness or capabilities vanish completely after even the most cursory listen to the second record. Alone, it is a startlingly focused and beautiful ambient masterwork, but it shines all the more when it is coupled with the chaos of the first record. The long, breathing pieces are tranquil and meditative, yet never naïve or on the look-out for a place in The New Age. Under every track, however, spare and delicate, lurks an anxiety that constantly threatens to swallow all delusions of well-being. Though it drones and broods, it is never without texture. Alive with the haunting organ of Exits Very Damp or the subtle xylophone flourishes of Big Happy Lotus, it manages to maintain a clean, coherent spirit without becoming sterile or devolving into massage music. The side-long closer and centerpiece of the album, Psychopomp, though, is as sparse and heavenly as music gets, but it still attains such a raw human beauty that after you hear it, the last thing you want to do is lie down for a massage. Rather, you want to run out and find the human who created it and thank him." --Steve Rodgers

"Kye is proud to announce the release of Rules Of The Universe, a fully authorized anthology of archival audio work by the renowned Dutch artist Anton Heyboer (1924-2005). Heyboers stature in visual arts is well known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Heyboers only previous vinyl release - 1976s ill-fated She And She As One LP (EMI) introduced a music so resolutely personal and uncommercial in nature that EMI ordered the unsold bulk of the pressing withdrawn and destroyed. Further recordings of Heyboers anomalous music eventually trickled out via a string of private press micro-edition CDs/CDRs through the Anton Heyboer Foundation in the 1990s.
Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks. Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Centurys most original artistic minds.
Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of 500 copies." -Kye.

"Mention Heyoka to any self respecting rock music head in Texas and theyll tell you about this legendary band, the greatest unsigned band ever to originate from that state. Heyoka captured the imagination of fans with a back story fueled by mystical Native American folklore and peyote dreams. They opened for Rush at Randys Rodeo, then managed to get plum slots opening for Sammy Hagar, Van Halen, Be-Bop Deluxe, Golden Earring, Budgie, Trapeze and Rick Derringer. The music video for "Video Madness" made it onto MTV—but was then unceremoniously banned. "Heyoka, like Ultra in San Antonio... really should have made it but didnt," concert promoter Jack Orbin says. "I think they were ahead of their time musically. They were progressive metal, and thats what exploded out of San Antonio. They were innovators." The music is reminiscent of Jethro Tull and Kansas, but retaining a unique quality all its own, evoking Native American imagery under the mystical guide of Black Elk. Tracks all from masters, recorded between the years 1977 and 1986, all previously unissued. High quality vinyl version 2-LP set comes with 12x24 poster." - Shroomangel.

"HGP make improvised music which draws from sources such as space rock, musique concrete, experimental electronics, and Balinese and Middle Eastern music. The band consists of Dylan Krasevac (Snawklor, Fong), Dion Nania (Panel of Judges, Golden Lifestyle Band), Greg Wadley (New Waver, Thou Gideon, Tedium, Spill label) and Julian Williams (Solids, Above Ground Pool, From The Same Mother label). These diverse backgrounds make for an unpredictable outcome. Instrumentation is sometimes guitar, bass, drums, vocals, percussion and sound effects, but diversifies frequently. Recent live shows include a performance on sine wave generators at the Planet Cafe, and another using portable keyboards at the Builders Arms. The band began playing in 1997, and released their first cd Nega the Eight-Headed Serpent on the Varispeed label in 1998. To make their new cd, HGP collected live and studio recordings over a period of two years, then spend a year chopping them up and mixing the bits together. About seven hours of material was distilled into 35 minutes of cutup / remix hell, spread over 13 tracks on the cd. The disc also contains a video, for playing on a computer. The footage is from a recent play by Julian Williams, which was performed in 2001 at a car park at the Collingwood Housing Estate." -Spill.

"The No Wave era of NYC was a short, dark flash of energy that was extinguished almost as soon as it was noticed. It happened so goddamn fast that if you missed the imaginal cut-off for inclusion by a few fucking weeks, you were forever written out of the picture. Believe me. Thurston and I wrote the book on this goddamn scene, and the Hi Sheriffs were just outside our temporal markers, despite the fact theyd played Tier 3, the Mudd Club and everywhere youd think would matter. But look, they were as second gen No Wave as the Raybeats, the Bush Tetras and Eight Eyed Spy. If you have to ask why that was, and why such things were a matter of weeks rather than anything else, I dunno what to say. Its just how it was, and we all knew it. Shit moved fast. The fact that the Hi Sheriffs were devolved from the Girls -- the BEST band Boston ever birthed, as well as the only non-CLE band to ever record for Pere Ubus label, Hearthan -- did not mean shit. They were perhaps only weeks too late to make the No Wave cut (something theyd immediately wanted to hit after the Girls played Tier 3 with Basquiats band, Gray), but hey -- even Gray is a tad late for my taste. Still, musically, this quartet -- Mark Dagley and George Condo from Bostons Girls, Seth Weinhardt and Beth Fowler from RISDs Bachelors Of Art -- blew my mind. I first saw them at Tier 3, and they were like a crazed version of DNA playing the blues. Mark brought the first single up to the NY Rocker office a while later and Andy recognized the cover he was doing, but I assumed it was all just blown brain originals. Little did I know. This album is mostly made up of pre-first single live and rehearsal stuff, and it is just the sort of raw madness everyone wants to hear all the time. Even Lydia Lunch liked em. She did not record with them until later -- not long before shed begin her Devil Dogs project -- but even she knew she was beyond No Wave at the point of Eight Eyed Spy. It was a weirdly specific scene in many ways. But sonically, it bore lots of fruit. And one of the first, best and most blues-wailingest of its proponents was the Hi Sheriffs Of Blue." --Byron Coley; Includes a download card. Edition of 500.

"The HI-GOD PEOPLE side was recorded around the same time as their recent split 12-inch with fellow NZers The Dead C; it has live snippets from their show at The Palace supporting Sonic Youth and recordings from a radio 3CR session. Their live shows vary from cosmic rock jams to evolution performance art epics. Pop stars doing the tango with some psychedelic monk. Named after a satellite of the USSR, Melbourne Australias ZOND broadcast dark ecstasy from a place far below outer space, like a Rorschach blot or a Freudian analysis gone wrong. Their live shows vary from a screaming psychedelic car crash to ambient metal. With current and past members of ON, FONG, LIBRARY PUNKS, MUM SMOKES, NED & THE MEDS, and THE STABS. All covers are handmade (screen prints, stencils, hand carved stamps). Australian import." - Spanish Magic

"This Indiana based band released only a handful of copy which full of variety with psychedelic tunes. Sounds much alike the acid rock era of The Byrds & Buffalo Springfield. Also this reissue features 4 bonus tracks of B.F Trike which founded by three members after disbanded Hickory Wind." Packaged in a high quality mini-LP style gatefold jacket, with insert, Limited to 1000 copies. "-Merry Go Round

"Before morphing into the excellent psych trio, B.F. Trike, Hickory Wind (from Evansville, Indiana), released one brilliant, and extremely rare, country psych album in 1969. Just 100 copies were pressed for the Gigantic label, and originals have been known to change hands for a small fortune. The album features excellent vocals, plus an interesting mix of fuzz guitar, and droning organ, as well as some wonderfully melodic songs. This reissue also features four bonus tracks from the B.F. Trike album session, recorded for RCA Records in Nashville, Tennessee in 1971. The B.F. Trike album, however, remained in the vaults for 25 years, before it was finally uncovered and given its just recognition in the mid-nineties." -Klimt.

"Originally released in 1974 on Cramps as number 2 in the Nova Musicha series, this is a brilliant conceptual work for 12 pianos. Juan Hidalgo, a leading figure in the Spanish avant-garde scene, is assisted here by Walter Marchetti. Contains photos and excerpts of musical score. Original artwork. Gatefold sleeve. 180 gram HQ vinyl."

"ZAJ has always been located close to the limits of the arts, the music, the theatre, the writing, the word, the object, the body. This has conducted to stay at the borders of the traditional artistic circuits, of the institutional spaces and, curiously enough, of the official vanguardias (fluxus, wiener aktionismus, etcS?). Since 1964 ZAJ organise several festivals and premiered most of the compositions of Walter Marchetti and Juan Hidalgo. They also invited other composers including the devastating performance of Fontana-Mix-Feed by Max Neuhaus in 1965 and a reading of Bernard Heidsieck in 1967. They privately issued 5 ZAJ-books: Juan Hidalgo Viaje a Argel, 1967, and De Juan Hidalgo, 1971; José Luis Castillejo La Caida de lAvion, 1967, and La Politica, 1968; Walter Marchetti Larpocrate seduto sul loto, 1968. But they never produced a recordS? And here it is, the first ZAJ record ever issued: Una Voz, written by Juan Hidalgo, read by Javier Martinez Cuadrado and recorded by Walter Marchetti who also added some music by opening the windows on Paseo de Santa Maria de la Cabeza. An evening in Madrid on September 1967. As Juan Hidalgo wrote for the liner notes: I spent about 10 years reading, hearing and meditating, outside, around and inside Zen Buddhism. Una Voz, this repetitive vocal music, couldnt have been conceived without these circumstances. This metaphysic work developed in the years I was living in Italy; first in Milan and then in Rome. Walter Marchetti and John Cage supported all this with their knowledge and friendship. The final result is a reflection on life, non-life, pain and pleasure. This project has been coordinated by Walter Marchetti who strongly wanted this LP to be the first ZAJ record. This edition also includes a 16 pages booklet (size cm. 30x30) with the complete Spanish text (first published in De Juan Hidalgo) and the English translation. Edition of 323 copies." - Alga Marghen.

"Lips pairs Roman Hiele — the ultimate Antwerp cocktail karaoke swinger — and Lieven Martens — “dad of the year“, field recordist and English teacher.
This outing, the duos first, was recorded at the venerable electronic studios of Worm in Rotterdam and at Studio De Ziltige Olijf in central Antwerp, where the stench of salty human bulk creeps into your mouth from about a mile away. During Hiele-Martens few concerts one could detect and, indeed, savour a Jiskefet-like attention to detail: the correct lighting, and a sensitivity towards ‘tiny‘ sounds (such as ice cubes — shaken, not stirred — and little bells). The recordings on this LP make the ears work like they should, and they therefore require your full attention.
Full-colour sleeve — a portrait of the duo by Dennis Tyfus — plus insert.
Limited to 300 copies" - Ultra Eczema.

"All-new EP from Hieroglyphic Being aka Jamal Moss, who has nailed a highly unique sound that draws from acid, Chicago house, industrial, and new age music, produced through primitive means which successfully captures a raw intensity. A Romance of 2 Planets presents three lengthy pieces, comprising of off-center techno which incorporates primal four-to-the-floor drum machine stabs, erratic and disjointed melodies that duck and dive around arpeggiated synth lines, and a self-imposed rough style of editing. Limited to 500 copies housed in color LP sleeves." - Alter

"2011 release. Le Jardin des Chemins Bifurquants is the first full length album from Chicago based electronic music artist, producer, and DJ Jamal R. Moss aka Hieroglyphic Being. Educated by house legends Adonis and Steve Pointdexter, hes been following a singular musical path, producing a gritty futuristic meltdown of house, free jazz, new age, and noise. For this record, Jamal worked with the concept of plants having a religion, and the question of what their way of worship would be. This resulted in a dark, deep-space overture with raw synth stabs, extreme pitch-shifted textures, and hypnotic tribal rhythms somewhat reminiscent of Sun Ras interstellar electric keyboard explorations. Le Jardin des Chemins Bifurquants is an unclassifiable tour de force that is oozing with profound cosmic meaning. Artwork by visual artist Robert Beatty (Hair Police)." - audioMER.

"Jamal Moss aka Heiroglyphic Being presents The Electronic Belt, his second release for Alter, and perhaps his most dancefloor-oriented release. The EP is made up of three choice cuts from 2012s Man with the Red Drum transmission with each track bearing the signifiers of Jamals rough and distinctive production; melodies twisting themselves into psychedelic wormholes, raw kicks and toms that hit hard and tight. Yellow vinyl edition in five different colored disco bags, mastered for vinyl by Stephen Bishop." -Alter.

"Gorgeous soundscapes by Acid Mothers Temple wildman Hiroshi Higashi. As 2nd guitarist in AMT (dont dare say rhythm guitarist hes so much more!) and synth abuser holy man extreme, hes dazzled audiences the world over with his mixture of controlled acidic sounds and utter reckless abandon damaging nearly as many instruments as master Makoto. We are granted this gift from the same gods that oversaw the experiments of Florian Fricke, Rudolph Grey, and some Pink Floyd worshipping stoners throughout the ages. Yes folks, these are some shimmering meditations that test the boundaries of electronic equipment, while maintaining a creamy center. Call them audio hallucinations or new age if you must, just dont blame me when youre looking down at your body. To support his numerous travels and devil-may-care lifestyle, most of the sound generating devices are in hock now so dont expect another anytime soon or ever." - Galactic Zoo Disk/Eclipse.

"Recital present a reissue of Dick Higginss Poems And Metapoems, originally released on cassette by New Wilderness Audiographics in 1982. Label head Sean McCann on the reissue: "Since the beginning of Recital, I have been trying to publish the work of Dick Higgins. He is a chief figure in my artistic world, a hero of mine. And now, with the assistance of Charlie Morrow, it has finally happened. The first vinyl album ever published of Higgins! Many know Dick Higgins as the father of intermedia, a key player in the birth of fluxus, and the owner/operator of the fabulous Something Else Press. His own poetry is what stirred me. Namely, his book Foew & Ombwhnw (1969), which contains one of my favorite of his works, Moments in the Lives of Great Women, along with other lovely poems (some included on this LP). This recording is of Dick himself reading his own poetry. Poems And Metapoems begins with a voice/tape manipulation piece from 1962, while the rest of the collection employs only language manipulation. Alike a cantor, each word is delivered perfectly with strong warmth. His ability to relay pattern-based poems into sonics is impressive. This album was recorded in 1982, and contains the reading of poems written between 1958-1980. Originally published as a cassette tape by New Wilderness Audiographics, which is nearly impossible to find now. The audio has been remastered and cleaned up for this edition. Dick lived large and was a busybody. All the faucets were running within him, handles broken off. Always pulling to mesh painfulness with playfulness, heart-warmth with heartbreak, comedy with tragedy etc. It is this plurality that Higgins encourages us to spark and flourish." Includes a 16-page pamphlet of notes and poetry by Higgins and an essay on both Higgins and New Wilderness Audiographics by Charlie Morrow; Edition of 470." - Recital.

"Alga Marghen presents the first edition ever issued of Dick Higgins music. Fluxus founding member, in 1958 Dick Higgins studied Composition and Experimental Music with John Cage in his class at the New School for Social Research in New York together with, among others, La Monte Young, Richard Maxfield, Toshi Ichiyanaghi, George Brecht, Allan Kaprow, Al Hansen, Jackson Mac Low. In the Spring of 1968 Geoffrey Hendricks and Robert Watts told Dick Higgins of a project that was afoot at Douglass College, where both were teaching at the time, to organize a show around guns. At that time the USA police seemed to have nothing better to do than to chase down teenagers for possessing miniscule amounts of marijuana and throwing them in jail, thus ruining their lives. Dick Higgins decided it would be more worthy if one could set all the policemen in the USA to composing symphonies themselves. So he proposed that the beautiful music paper be machine gunned and that symphonies be derived from the result. Geoffrey Hendricks arranged for Captain Toby of the South Brunswick Police to do this, which duly happened with a 9mm MP40 Schmeisser submachine gun, filmed by Alison Knowles. A volunteer orchestra, conducted by Philip Corner and including Charlotte Moorman, performed nine of the resulting symphonies at Douglass College on December 9th. The Douglass concert was taped, but the only copy disappeared when the Ars Viva! Gallery in Berlin, Germany, went bankrupt in 1984. The whole situation was documented with photographs in Source Magazine in 1970. As Philip Corner, conductor of the recordings presented here, said: Leave it to Dick Higgins to come up with the most spectacular way to generate a page of patternless notes. Once over this dramatic gesture with machine-gun bullets leaves a stack of paper full of holes. I had not thought of this before but there must have been a conscious connection to the social turmoil of the 60s - all too unfortunately, come back around to high relevance these days. First press limited to 500 copies with digipack sleeve, also including a 16 page booklet with full documentation presenting 2 texts by Dick Higgins from the 1960s as well as a Philip Corner testimony, original photos and original scores." -Alga Marghen.

"GARY HIGGINS is back from the time-space continuum with previously unheard moments from his storied past. Way back in 2005, Drag City reintroduced his 1974 psych-folk classic Red Hash to listeners around the world, who were acutely touched by Garys carefully-arranged, darkly utopian songs. Since then, Red Hash has been widely recognized as a classic of its time. Since then, Gary has played shows around the U.S., something that he was unable to do in the mid-70s when Red Hash came out, due to incarceration on trumped-up drug possession charges. It was a good feeling, playing his songs for people who were moved by them, so Gary decided to record some new ones, and in 2009,his first new recordings in over thirty years were issued as the album Seconds. His sound was neither revisited nor updated; natural evolution had occurred and the songs were unmistakably Gary Higgins; older, and different, yet unchanged. Fresh from his trip to the present, Gary is back in the past for this EP of songs, all of which were written and recorded circa 70-71, in the same time that the songs that would form Red Hash took shape." -Drag City

First reissue of this underground folk-psych classic, originally released in 1973 as a self-released LP. " Red Hash features eleven haunting tracks of folk-pop played on acoustic and electric guitar and arranged with percussion, cello, flute, piano, organ, bass and mandolin. This plus Garys transcendent vocals bring to mind the perfectly-damaged vibes found in David Crosbys masterpiece of peace, love and paranoia, If I Could Only Remember My Name and the recently re-discovered and acclaimed Parallelograms by Linda Perhacs. This is the first-ever authorized reissue of Red Hash -- direct from the original master tapes. The Red Hash CD includes two unheard bonus cuts and never before seen artwork/photos. Red Hash is held in very high regard by current torch-bearers/taste-makers: Animal Collective, Joanna Newsom, WFMU, Devendra Banhart, Ben Chasny, Sunburned Hand of the Man, White Magic, and Espers." - Drag City.

"1973: Connecticut native Gary Higgins and his friends record Red Hash and release it on Garys own Nufusmoon Records. Following the release, legal issues halt all promotion and sales, rendering the small pressing of Red Hash a hotly-rumored and much sought-after lost album of rock and roll lore. 2005: Drag City is honored to present the first-ever authorized reissue of Gary Higgins acid-folk gem Red Hash -- mastered from the original master tapes with two previously unheard bonus tracks. The reviews are glowing: the haunting sound of Garys meticulously arranged folk-pop is a sound that everyone can relate to, and Red Hash makes many year-end lists around the world as Top Reissue. 2007: What do you mean, we forgot to make a vinyl version of Red Hash in 2005? Really? Well, lets not wait another minute, we might forget again... And so, after thirty-five years, Red Hash vinyl is back in stock, with a limited-edition LP that includes a 7" single featuring the first-ever vinyl pressing of the CD bonus songs Dont Ya Know and Last Great Sperm Whale. This is your chance to grab at a letter-perfect reproduction of a folk-rock classic from the early 1970s. Dont space it -- score yourself a copy of Red Hash."-Drag City

"A brand new solo release from legendary poet, painter, Jews harpist, tattoo artist, and singer and lyricist of LUNGFISH, THE PUPILS and CONE OF LIGHT, DANIEL HIGGS. Higgs has an unparalleled presence in both body and voice, and this, combined with hypnotic repetition, gives the material on Ancestral Songs both a loose discipline and an immense yet serpentine power. Ancestral Songs is comprised of apocalyptic tunes, a banjo raag, mellifluous birdsong, and the sci-fi-sounding duet of a searing Jews harp and toy piano. "Are You of the Body?" brings out the electric tamboura tone and an accompanying acoustic guitar to melt the spine. A distorted motorik guitar riff propels Ancestral Songs to a close by focusing on the consistent tone and vibration that flows throughout the album." - Holy Mountain.

"Daniel Higgs is a musician and artist from Baltimore, Maryland, who has been a contributor to the independent art and music community for nearly 3 decades. His artistic work ranges from musical records to books of poetry to visual collections of his drawing, painting and collage work.
Higgs is known primarily for his work as the sole lyricist and frontman of the band Lungfish, a four-piece juggernaut who has released over 10 full lengths in their 20+ year career. In recent years, Higgs has released a number of solo outings including the record / book combination Atomic Yggdrasil Tarot. On much of his solo work, Higgs uses very varied instrumentation, including acoustic and electric guitar, upright pianos, banjo and Jews harp, and generally records entirely at home on cassette recorder.
Higgs has always worked in the mediums of music and art simultaneously, and for his Artist Music Journal Higgs mined his archives and notebooks from the past 10+ years. The original works were photographed to scale." - Soundscreen Design.

"DANIEL HIGGS returns with his second full length recording for Holy Mountain after last years critically acclaimed Ancestral Songs and his contribution. Atomic Yggdrasil Tarot, to Thrill Jockeys series of books collecting art and music. Metempsychotic Melodies continues to document Higgs rise as a solo performer. Raw picked acoustic guitar drones dominate Metempsychic Melodies as the instrumental "Universal Salutation" fades into the waking dream soliloquy of observation "Love Abides." "Leontocephaline Rhapsody" is a long waltzy drone with enough spooky atmosphere for one to think that it could have been recorded at Sunshine studios as there is a heavy Vogel vibe to the whole thing. Rumor has it engineer TIM GREEN told Higgs that he had to fade the track otherwise they were going to be arrested. Vocals return for the closing track "All Cherished Things" an epic about change, sound and transformation." -Holy Mountain.

"In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band, Lungfish. Higgs follows up the 2007 album/book release Atomic Yggdrasil Tarot with his new double album Say God. Say God is an album of gospel songs and poems as presently received by this Daniel Higgs. Recorded with the help and enthusiasm of David Andrew Sitek, who graciously provided this Daniel Higgs with an environment in which to prosper and enjoy the adventure of recording, or, if you will, the ensnaring of songs as they migrate through time and mind, that they might be heard many places at once, with the singer absent. Song seeds cast abroad, that their message, The Advent Of The Songway, the Way Across, might take root, twist and fruit, light for all. It is the simple hope of this Daniel Higgs that the album Say God may be of any use to the listener, may serve the listener, may accompany the listener in clairaudient fellowship." -Thrill Jockey

"Daniel Higgs, former frontman of Lungfish, is a living legend. A wandering mystic transporting his audience into altered states of consciousness, Higgs has released over ten solo albums and been creating music for over 30 years. For his first release on UVL Higgs reads from his epic poem the Fools Sermon with accompaniment on farfisa organ by Baltimore artist Stephen Strohmeier. Edition of 250." - Ultra Violet Light.

"Part 1 of The Fools Sermon as composed by and recorded by Daniel Higgs. Features Eli Winograd on bass and bass keyboard and Fumie Ishii on drums & voice and Higgs on banjo and voice. "Daniel Higgs once told me that the Earth is actually in its 34th life cycle. That everything has been conceived, created, grown, withered and ultimately been destroyed a grand total of thirty three times to date. As for quite how long this ourobouros-esque pattern will continue, he never enunciated. For enunciation is at the very heart of The Fools Sermon. Or I should say Ee-nun-see-a-she-on, as language in the hands of Higgs becomes a play-thing; syllables coil and retreat as if in eternal competition over the course of this 35 minute address. Anyone versed in Higgs vocabulary over his 30 year-plus career as musician, poet and orator, The Fools Sermon will feel like a worthy distillation of his other-world view: a raw vision of the sacred and the profane, the physical and the metaphysical, The Proterozoic and the present. At points, the results conjure a Flannery OConnor penned pulpit-bound preacher elucidating as a huddle of Tribe Records personnel channel Amiri Barakas Black Dada Nihilismus; at others the narcoleptic exotica of Eden Ahbez shakes hands with Blind Joe Death. One imagines Gene Roddenberrys Captain turning his attention to the Philosophers Stone, to boldly go where no man and everyman has been before and forever will go again." -- Anthony Sylvester, 2016. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Cover photo by Fumie Ishii. Back cover photo by Micke Keysendal." - Ideologic Organ.

"The Measure of Mystery" was recorded (by Fletcher Tucker of Bird By Snow & Yurt) on cassette tape in Big Sur, California in the late night hours when the 29th of October was gradually becoming the 30th (2011). Song flowed forth from Source in a circular redwood room perched just above a waterfall, which itself flows steadily toward its own source (the Pacific Ocean). You may observe the sounds of both ocean and river on these recordings...and a closer listen may also reward you with the sounds of starlight, mycelium growth, molecular revolution, and an untold number of cosmic musics.
This tape is a 45 minute magnetic fossilization of Daniel Higgs energy field. It is divided between three tracks of epic proportion: a revelational instrumental banjo improvisation, an entheogenic song performed on banjo and larynx, and an ecstatic mythopoetic recitation. Fans of Daniels previous albums are surely aware that an exceptional recording of "Say God" already exists, this new incarnation however is nearly twice as long with over 100 verses! Truly an awesome artifact, offered to you in the hope that it will inspire awe.
Photcard by Fumie Ishii. This volume of Echomancy is represented by the symbol for the planet Mercury." - Gnomelife.

"Daniel is best known for his work as the lyricist and frontman of Lungfish, whose work on Dischord Records spans 3 decades. This release is a limited edition full color 6x8" hardcover book + CD. This is the 2nd release in the series (the 1st being Hokane by Aki Tsuyuko), and contains 48 pages of Daniels paintings and writings of guitar and piano drones, Jews harp, and banjo recorded by Daniel in his home is inserted in the front cover of the book." -Thrill Jockey.

"ENDLESERIES is a collection of music exclusive to our catalog. The catalog is continuously growing. We hand lathe cut 10" virgin lacquers with aproxamately 9 minutes of audio per side. Each lacquer is cut to order. The records play at 33rpm." - Endleseries. New series of customized split 10"s from Caleb Johnston (Anonymous, Nautical Almanac, etc..).. Beautifully packaged, metal-core virgin dub plates, with handstamped, old style 78 sleeves and labels.

"Long awaited sixth album for PSF (following the epics II, Dispersion, Live, and Disallow) by this time-honored post-motor-city rave up clan, featuring Nanjo Asahito on bass/vox, Munehiro Narita on motor-cycle-guitar? and Shoji Hano on drums. Phrases like in the red or amped-up dont even begin to relate present levels of near-fatal voltage abuse. Contains some off-kilter exploratory cuts that dont veer too far from paths cut by sister ensemble Musica Transonic, which I suppose could be determined as a new direction. Still, a ridiculous display of caffeine/sugar energy converted into audible wavelengths by Tokyos premiere baff-rock scuzz-manics." - Hrvatski.

"Fourth High Rise CD (fifth album overall) and first studio production in quite some time. Utterly massive trio psychedelic heavy rock. With new (and amazing) drummer Pill, the guitar/bass duo of Nanjo & Narita blast the spheres like nobody else, in a seemingly more complex manner, but just as pure in their pursuit of the deeply submerged." - FE.

"Reissue of the 2nd High Rise LP, with 2 bonus tracks. Ultimate all-in-the-red distortion-psych monster. Blew away the few who heard it on first release in the mid 80s and continues to convert people along the way. Original Japanese CD edition, US edition on Squealer seems to be defunct..." - FE.

"Trio heavy fuzz blasts of near speaker blowing proportions. Their third CD (fourth album overall) and possibly their most flat out insane. Original Japanese CD edition, US edition on Squealer seems to be defunct... " - FE.

"First live High Rise album on PSF since the still astounding peak of Live (PSFD-48). Seven tracks, fifty-two minutes. If theres anyone that doesnt already know, High Rise were where it all started. A group that boiled down improv, the hardest psych, the fastest punk into an injectable shot of accelerated adrenaline. The group were source of the first psychic rumbles to reach the West, indicating that something quite remarkable was happening in the Tokyo underground. Without High Rise there would have been no PSF (the acronym stands for Psychedelic Speed Freaks -- the groups early moniker and the title of their debut album), no Musica Transonic, no Mainliner... This latest release features the group live in New York and Seattle on their most recent US tour, before an adoring audience of speedfreak boneheads (maybe youll even hear yourself hollering louder or faster). Surprisingly, the trademark Nanjo production aesthetic has been toned down a notch, leaving the splattered acid genius and tonal control (!) of Naritas solos the most evident theyve ever been. Nanjo and ex-White Heaven drummer Koji Shimura are as poundingly heavy a rhythm section as you could wish for. But its the guitar where it is at: theres still nothing quite like Narita kicking open the throttle and tearing into a manic solo, leaving shit-eating grins to eat dust in his wake..." - Alan Cummings.

"In 1982, the mysterious Steve Hall, a self-proclaimed "hippie-punk" who had previously released a couple of D.I.Y. basement-punk albums with his band Afflicted Man, recorded one of the most obscure, underrated and killer heavy-psych albums of all time. Credited to High Speed & The Afflicted Man, Get Stoned Ezy consists of three long tracks of late 60s/early 70s-influenced psychedelic hard-rock. A fuzz-wah assault of epic proportions in the style of other guitar-damage gods like Human Instinct, Wicked Lady, Hendrix, High Rise, Sabbath, Stooges, etc., all played with a real acid-punk attitude. Guerssen Records present the first-ever legit reissue of this lost masterpiece, licensed by Steve Hall. Remastered sound, insert with detailed liner notes by Chris Stigliano (Black To Comm), and rare pictures." -Guerssen.

"In 1982, the mysterious Steve Hall, a self-proclaimed "hippie-punk" who had previously released a couple of D.I.Y. basement-punk albums with his band Afflicted Man, recorded one of the most obscure, underrated and killer heavy-psych albums of all time. Credited to High Speed & The Afflicted Man, Get Stoned Ezy consists of three long tracks of late 60s/early 70s-influenced psychedelic hard-rock. A fuzz-wah assault of epic proportions in the style of other guitar-damage gods like Human Instinct, Wicked Lady, Hendrix, High Rise, Sabbath, Stooges, etc., all played with a real acid-punk attitude. Guerssen Records present the first-ever legit reissue of this lost masterpiece, licensed by Steve Hall. Remastered sound, insert with detailed liner notes by Chris Stigliano (Black To Comm), and rare pictures." - Guerssen.

"A particularly potent missive from the Gallic psyche enigma, HIGH WOLF. From the first bars of Free Your Energy Field we can feel ourselves being sucked in reverse towards the kaleidoscopic vortex of High Wolfs loops, tempered tape distortion at the edge of event horizon buffering a stream of chromatic synth colours and spiraling raga scales towards the inky abyss of your psyche. Once on the other side we Swallow Pills with Ganga River Water, where babbling rhythms split off into stereo swirling formations curling around the head and hallucinatory images of astral harmony begin to form in the third eye, glands swelling in the frontal lobes to perfume the senses into a deeply spiritual reverie. Lush." -Boomkat.

"Pyramidal meditationist High Wolf has been highly active since last summers Animal Totem tape dropped on NNF: hes released three full-length CDRs, started his own record label (Winged Sun), begun a mail-collab with Astral Social Club (as Iibiis Rooge), embarked on two UK/Euro tours (one with heavyweights Gnod), plus trekked out on a month-long solo journey through India to collect field recordings and get deep. Whoa! Makes you feel lazy right? Well actually thats not all, as he also spent a few months somewhere in there recording, mixing, and re-recording the five multifaceted ethno-flux odysseys that comprise Ascension, his debut vinyl full-length. Utilizing his usual toolbag of looped tablas, fuzz guitar leads, chiming white light guitar, synth swells, and cloud-climbing electronics, the album safaris through a host of ecstatic ritual landscapes with more focus and magic than any other High Wolf hunt to date. A beautiful album for dissolving, dreaming, dancing (in a certain way). Been spinning this one weekly, share the flight. Black vinyl LPs mastered by Pete Swanson and housed in jackets with artwork by Kaugummi Magazine captain Bartolome Sanson. Edition of 400." -Not Not Fun

"Frances HIGH WOLF possesses a natural-born ability to produce tones most conducive to inducing transcendental states. Prolific without wearing out his welcome, the guitarist and effects box manipulator sets loose fervid streams of fever-dream drones. High Wolfs tracks sound as if theyve been sluicing since the beginning of time, siphoned for teasingly brief absorption before they shimmer off to the vanishing point. This elite droneur is one of the few musicians who could title a 7-inch A Guide to Healing without it coming off as an ironic gesture or a laughable boast. Atlas Nation-recorded in 2010 after a long trip to India and Nepal-deepens High Wolfs penetration into the mystic. It evokes an uneasy peace with a new breed of tribal psychedelia shorn of all hokey signifiers. "Fuji Descent" starts the album with what could be a languid, paradisiacal soundtrack to a scrapped Alejandro Jodorowsky film. "The Dawn of Man" is a stark, stoned processional burrowing into malarial climes where guitars squawk in ominous tongues while congas cave in chests and clear brush with a vengeance. "Raagini" magnifies and psychedelicizes Rapoons mantric, ritualistic hand-drum patter and tropical-forest drones while hinting at Don Cherrys jazz-raga peregrinations. High Wolf claims that "Haiti" was "recorded in a couple of hours [on] the day of the big earthquake in Haiti, so its the darkest / saddest High Wolf track ever." Its a fittingly miasmic, climactic threnody. Think of Atlas Nation as a surreal aural travelogue that takes a giant step beyond Jon Hassells "Fourth World" music-a humid milieu teeming with alien tonalities and oracular currents. Its as welcome as a new, improved entheogen on the streets." - Holy Mountain.

"French globe-tourist HIGH WOLF has hand-rolled his way up Mount Fuji, trainspotted every corner of Europe, hitch-hiked across America and Australia, chugged Ganges water, and crouched on all manner of smoke-stained prayer rug since first looping a bongo back in 09. His apprenticeship in the House of Wah nearly complete, hes hinted at a potentially seismic shift in the High Wolf third eye doctrine lurking in the near future; perhaps his Away Team exfoliation moment is nigh. Fortunately, Not Not Fun has coaxed the astral jungle jah concoctions of Kairos: Chronos out from the ether, because this LP is the summation of his entire half-decade Amazon Cosmos quest. All the tenets of the High Wolf mythology are in place: humid hand-percussion heat-spells, coiling snake-charmer fuzz-guitar stacked six deep, sunlit synth textures, dubby bass-lines thumping through grass amps, ceremonial voodoo babble, etc. From the hidden temple hymn "Kulti" to the thirteen-minute self-beheading solar eclipse shakedown, "Alvarado," the record represents rarified proof of The Wolf on High. On tour now in every country on Earth. Jacket designed by esteemed London visualist ANTHONY GERACE. Edition of 450." - Not Not Fun

"Frances fave psych-snakecharmer trances a new coiled creature from the same thatched basket of white light fuzz, canned drums, and keyboard sign language. Over on the wrong side of the tracks theres Midwestern madcap CHARLES "FREE" TATERBUG, perched on a fence with a 2-string and some rusted tape machines, crooning to the crickets in the parking lot. Sleeve art by CARLOS GONZALEZ." - Not Not Fun.

"Kenneth Higney was a struggling singer-songwriter when he cut Attic Demonstration in 1976, a demo record of such massive outsider vision that it dropped straight into the void, as well as the deep pockets of a band of committed record collectors. Initially intended as a calling card to help him get his songs covered by other artists, Higney soon branched out into selling the disc as an actual album, placing low key ads in a couple of NY papers and sending out a bunch of review copies. Only Trouser Press took the bait, saluting Attic Demonstrations "cross between Lou Reed and Neil Young without the aid of melody." Now officially available for the first time, Attic Demonstration is one of the most endearing and intensely human real people discs to turn up for a while, boasting Modern Lovers-styled road ballads sung with a Jagger-esque snear and propelled on pegleg rhythms that would do The Shaggs proud, through meandering tonal wastelands where Higneys eye-wateringly unarmoured vocals are supported by minimal chord patterns that progress according to the position of the stars. Best of all is the addition of both sides of Higneys funk/punk tribute single, where he namechecks contemporaries like The Dead Boys and Johnny Thunders and rhymes "dirty downtown bar" with "the sissy music of John Denver". Almost too good to be true." - David Keenan; The Wire. "New Jersey open wounds real person basement psych damage strums with buzzfuzz bursts. mix of Spencian floaters and warped rhythm ravers. At times sounds like 1/2 Japanese doing Cale-era Modern Lovers outtakes. way lost no-fi monsterdom..." - Ron Moore. Official CD reissue of this 1976 classic. Includes tracks from his 1980 7" release. Highly recommended! Restocked yet again..

"Often considered the Holy Grail of "real people" records, Kenneth Higneys "Attic Demonstration" was never actually intended to be an official release. It was recorded in New York City by Higney and his accompanist Gordon Gaines (R.I.P.) as a vehicle with which to sell Higneys songs to other artists and was only pressed to vinyl in 1976 when he grew tired of duplicating cassette tapes. Apparently the Jandekian dissonance of the "A. Demo." sound was an unintended by-product of the one take demo sessions. Be that as it may, "Attic Demonstration" is a strange sonic world all of its own. It is neither too weird to be unappealing to "regular" music listeners nor is it one of those "discoveries" that leaves you wondering what all the hype was about. Acoustic guitar ballads of nearly atonal desolation mix readily with rock n roll numbers featuring hiccuping drums and alien sounding electric guitar. Hingeys vocals are by turns sneering and mournful as he sings about lost love and the desire for fame all filtered through his uniquely bent worldview. Although a few ads were placed for the record in The Village Voice and The Aquarian, the fame that Higney sought eluded him (a semi-positive review in Trouser Press notwithstanding). That is, until the album was discovered and distributed by record dealer Paul Major. "Attic Demonstration" has been featured in the Acid Archives and copies of the original LP have soared in price over the years, but you no longer have to pay $100, $200 or even $300 to obtain a copy of this monumental album on vinyl. One Kind Favor and Kenneth Higney have teamed up to bring you an official reissue of "Attic Demonstration" remastered and with all the original artwork." - One Kind Favor.

"Last copies of this 2012 reissue with a bonus 7" ("Funky Kinky" b/w "I Wanna Be The King"). "Often considered the Holy Grail of real people records, Kenneth Higneys Attic Demonstration was never actually intended to be an official release. It was recorded in New York City by Higney and his accompanist Gordon Gaines (R.I.P.) as a vehicle with which to sell Higneys songs to other artists and was only pressed to vinyl in 1976 when he grew tired of duplicating cassette tapes. Apparently the Jandekian dissonance of the A. Demo. sound was an unintended by-product of the one take demo sessions. Be that as it may, Attic Demonstration is a strange sonic world all of its own. It is neither too weird to be unappealing to regular music listeners nor is it one of those discoveries that leaves you wondering what all the hype was about. Acoustic guitar ballads of nearly atonal desolation mix readily with rock n roll numbers featuring hiccuping drums and alien sounding electric guitar. Higneys vocals are by turns sneering and mournful as he sings about lost love and the desire for fame all filtered through his uniquely bent worldview. Although a few ads were placed for the record in The Village Voice and The Aquarian, the fame that Higney sought eluded him (a semi-positive review in Trouser Press notwithstanding). That is, until the album was discovered and distributed by record dealer Paul Major. Attic Demonstration has been featured in the Acid Archives and copies of the original LP have soared in price over the years, but you no longer have to pay $100, $200 or even $300 to obtain a copy of this monumental album on vinyl. One Kind Favor and Kenneth Higney have teamed up to bring you an official reissue of Attic Demonstration remastered, with all the original artwork and with liner notes by the artist." - One Kind Favor.

"Official reissue of Kenneth Higneys 1980 private press 45rpm single. Compared to "Attic Demonstration," the recordings are much more polished. Synthesizers and "pop sensibility" have found their way into Higneys music, and the more I listen to it, Im convinced this could have somehow taken the world by storm in some sort of post-No Wave context. Dont get me wrong, this is still incredibly strange stuff, with Higney triple tracking his vocals in different registers. "Funky Kinky" is an especially unique come-on to a lady and "I Wanna Be The King" is an "ode or tribute, whatever youd like to call it, to the NYC punk scene of Maxs Kansas City and CBGBs in general and Johnny Thunders (the "King") in particular," according to the artist. "I wanna be the king, I wanna play guitar. I hate the sissy music of John Den-var." Higney goes on to say:
In June of 1980 Kebrutney released a seven inch single of "I Wanna Be The King" b/w/ "Funky Kinky." This was my shot at being a performing writer and these were my first recordings done with the intent of being released to the general public. They were not demos. My thinking was to release a "double A side," which was reflected by the catalog numbers on the label: "KBH-516RAS" for "I Wanna Be The King" was the rock ("R") side and "KBH-516FAS" was the funk ("F") side. A monster record which drowned in the swamp after being chased by the villagers." -One Kind Favor.

"Kietsuzukeru Echo (which loosely translates to "Disappearing Echo") is Tokyo, Japan stalwart Hisato Higuchis second offering for Root Strata - his first being an a cappella track for the Tsuki No Seika 7" series in 2011. After over two decades of releases on P.S.F. Records, Family Vineyard, Apollolaan Recordings, and a steady string on his own imprint Ghost Disc, Hisatos latest effort marks a stylistic, yet finely distilled, return to his earliest live sets from the mid-1990s - documented in the P.S.F. record Early Works (2012). Conjuring an incredibly intimate space with only guitar and voice, the home-recorded Kietsuzukeru Echo is illuminated from within. Eight songs of soliloquy and scene, eight songs that disappear. Includes download code." - Root Strata.

“When freedom meets grace. New, wonderful work by one of Japans most unique voices. Hisatos songs shine like stars in a summer night. Warm, fragile, and thorn music. It will send shivers down to your spine. Edition of 250 copies with professionally printed artwork and inserts.” - 8mm.

"Over the past few years Higumas Evan Caminiti (of Barn Owl) and Lisa McGee have slowly evolved their sound from shamanistic acoustic dirges into shimmering metallic blast-off hymns, hair-raising eulogies to the cosmos. Pacific Fog Dreams is a set of seven such songs, all beautifully distant and drenched in layers of earth-toned echo, balanced in dream time between melodies and all out electric whitewash. Delayed strums hang in a beyond background, a ghost world of songs from some other place and time, channeled onto the hiss of a cassette tape to remind you. Caminitis guitar is often on the verge of taking the whole thing down, sporadically billowing into colorful feedback, huge blocks of impenetrable sound. McGees vocals are sometimes discovered, but just as distant smears, or riding the peaks, coaxing out phrases of hidden origin, maybe singing of intimacy, memory, nature or magic." - Root Strata.

"Legendary Japanese noise band Hijokaidan presents its 2015 studio album Emergency Stairway to Heaven. The album arrives as a luxurious picture disc containing four cuts of unique sounds that only Hijokaidan can deliver, created by the full line-up ofJojo Hiroshige, T. Mikawa, Junko, and Futoshi Okano. The album also includes a bonus CD containing two live recordings from 2014; the first features Hiroshige (synthesizer), Mikawa (electronics), and Junko (screaming), and the second features Hiroshige (electric guitar), Mikawa (electronics), Junko (screaming), and Okano (drums). Includes download code for album Emergency Stairway to Heaven. Edition of 750.” - Cold Spring.

"Official reissue of the first recordings of this Japanese noise group, primarly made up of the duo of Jojo Hiroshige (guitar) & Junko (vocals). This was their first LP, originally released by Unbalance (later reissued on CD by Alchemy). This VOD edition is expanded into 2LPs with bonus live material from 1988, live at the Shinjunku Loft." - FE. "The first official release from 1981 of the legendary giants of Japan noise / avantgarde mit unveröffentlichten bonus/live material. This release is also available in limited quantity as box-set with live DVD (from 1990 & 1999) and t-shirt."- Vinyl-On-Demand.

"This is the reissue CD of a great 70s Japanese folk rock psyche private press LP.
Original LP was released in Tokyo 74.
Chorus work like CSN&Y with psychedelic folk rock sounds!
Like Japanese "Kissing Spell-Los Pajaros"!
Mini LP g/f sleeve, with OBI, lyric insert. " - Branco Label.

"Immediately after the release of the Chiswick single, Jeff Hill recruited drummer Dave Buckley (ex-Moonshine, who recorded a 1976 EP titled TOO YOUNG TO LOVE ME) and bass player Ray Humphries: the Jeff Hill Band played their first gig in Burtonwood on October 19. A few demos were taped in Warrington on November 26, two days before entering Londons Pathway Studios to record a second 7” for Chiswick which never saw the light of day. In the second half of 1978 a deal with Rabid Records was negotiated and two tracks were taped at Cheshires Revolution Studio on February 19, 1979, with Steve Hopkins (k) as guest musician and Andy Mac taking production duties. Rabid planned the release of a single then decided to include the two tracks on a compilation album: both projects were eventually aborted. Undeterred, the Jeff Hill Band decided to found their own label, Balloon Records, and self-financed the pressing of 500 copies of a 7” housed in a cartoon picture cover with a Ramonesy drawing of Jeff wearing a gabba gabba hey badge. The record emerged on December 20, 1979, and is worth tracking down, though it is quite hard to locate: its two Punk/Powerpop songs are enjoyable efforts with the A-side SOMETHINGS WRONG WITH MY BABY arguably being the better track. Plagued by sparse distribution, sales were minimal causing the combos demise after a final gig in Warrington on April 19, 1980." - Sing Sing.

"Official reissue of sought after 1977 metallic sci-fi hard rock private press record, featuring ex-members of the psychedelic 60s group Paper Garden. Available again for the first time in over 30 years! Recorded and mastered during the summer of 76, Exposure was originally released in 1977 on their own 30th Century Fox label. Music fans re-discovered this gem sometime in the 90s and the original pressing has since become a record collector prize. The spacey punk vibe, sizzling guitar and snotty vocals give the album a unique and ear-catching sound for its time. Re-mastered for compact disc from the original tapes, the resulting sound is nothing short of killer! Play this one loud! Enjoy another fine addition to Rockadromes Vintage label catalog."

Interpreted by Holger Hiller and Thomas Fehlmann. "In 1930 the German composer Paul Hindemith (1895-1963) wrote a series of small pieces for school orchestras. It was described as a play for children depicting the construction and survey of a modern city. The unusual thing about it is the age of its inhabitants: In our city the grownups have no say... Our mayor is seven years old, and all uncles and aunties are children. Even the traffic warden is a child. We Build A Town comes across as strange in more than one way. Firstly, as a bizarre alternative blueprint to an elderly society. Secondly, as a combination of constructivist music and antiquated-modernist lyrics. These lyrics reflect traits of naïve belief in progress and open repression. Half a century after the original was created, two German artists with a punk and new wave background reinterpret the play and release it in 1981 as a cassette tape on Ata Tak, a label based in the German city of Düsseldorf. The classic orchestration of the original is replaced by synthesizer and manipulated voices. Apart from that, the original score is strictly adhered to. The use of electronic instruments and voice effects not only gives new life to the futuristic character of the pieces, but also subtly hints to its origins in the world of adults. Like the flame of a burning fuse leading to a bundle of explosives, the tape wanders through the childrens bodies and back into the heads of the grown-ups." - Gagarin.

"Cardinal Fuzz are proud to present from Gothenburg, Sweden, HILLS. Hills offer up two side long jams-each 15 minutes in length that channel the repetition of The Velvet Underground / Parson Sound, Terry Riley influenced meditations and add Ron Asheton atonal Fuzz. The spirit of Bo Anders Persson is kept alive and captured within the grooves of this wonderful vinyl. Hills got together to make music that focuses on the grooves, sounds and rhythms rather than classical songwriting structures. They are heavily dependent on improvisation, which creates a meditative space without rules. Hills give us two sides of ecstatic, ritualistic hyp-no-monotony. Originally a mega limited cassette only release, Hills have recorded a whole new side exclusively for Cardinal Fuzz. This is ahead of their upcoming release on Rocket Recordings." - Cardinal Fuzz. Edition of 400.

"Hills are a three-piece band based in Gothenburg andMaster Sleeps was their immediately sold-out second album, originally released on a small Swedish label in 2011. Rocket are proud to present a re-release of this great psych classic, with stunning new sleeve artwork.Master Sleeps draws its inspiration from some of the great bands of the late 60s and early 70s like Can,Amon Düül, and A.R. & Machines. Also you can hear the influence of native Swedish legends likeInternational Harvester, Pärson Sound, and Trad Gras Och Stenar. But unlike a lot of the current over-saturated scene of psych bands that mine their 60s and 70s record collections, Hills manage to sound contemporary and relevant in 2013. They are currently putting the finishing touches to their third album which will be released by Rocket in 2014, so this reissue of Master Sleeps is a nice taster of what to expect from the next installment from this great band. Includes download code." -Rocket Recordings.

"The 2nd album from Swedish heavy psych / spacerock band is nothing else than a masterpiece! Music taken from parts of psychedelic, drone and evil death. Unsacred mantras echoing from the depths below! Recommended for friends of THE STOOGES, GILA, GERMAN OAK, SYD BARRETT, YAHOWA 13, BARN OWL, WOODEN SHJIPS to mention a few." - Intergalactic Tactics.

"Though they dont quite hit the same level of fiery abandon as their similarly named American brethren White Hills, these Swedish psych rangers do share quite a few things in common with the NYC noisemakers. Germinating from the same love of the Space Rock-Krautrock axis that brought forth Wooden Shjips, Expo 70, and forefathers like Hawkwind and German Oak, Hills inhabit a low gravity, groove-oriented plateau of guitar-heavy psych that at times ventures into the same Eastern territories that UK guitar-slinger Rick Tomlinsons explores in his Voice of the Seven Thunders project. Hills S/T debut sold out in a quick run of 300 and was a worthy piece to get your hands on; this will surely go just as quickly, and is just as much fun as its predecessor." - Andy French, Raven Sings The Blues/Altered Zones.

"Swedish rock / kraut / psyche outfit Hills deliver some varied styles across this limited slab of import wax. "Death 1" is a gritty, low-slung piece of psycedelic post-punk jamming. A gorgeously filthy bass holds the grooves while feedback experiments and time mangled vocals flood the mix - sweaty and dirty music for the dungeons. "Ex Oblivious" is a tripped out interlude track with some sci-fi guitar picking and dreamy sea tones. On side B we get some echoed flute accompanying lush guitar licks and a live jam thats got some of Wooden Shjips epic tones and resonances. The record as a whole has a warm organic feel to it that hugs the sences and rubs the mind. I love it!" - Picadilly. Edition of 300 copies.

"Blackest Ever Black presents the first vinyl edition of Dickon Hinchliffes original score for 1980 -- the second part of Channel 4 and Revolution Films Red Riding trilogy, adapted by Tony Grisoni from David Peaces quartet of novels and first screened in 2009. Each film in the Red Riding trilogy, a landmark achievement in British television history, was helmed by a different director and had its own distinctive look, sound and feel. While Julian Jarrolds 1974 and Anand Tuckers 1983 were both marvelous, well-rounded pictures, James Marshs 1980 -- photographed by Igor Martinovic on 35mm -- somehow seemed to penetrate deeper, hit harder, and linger longer and more vividly in the memory. Described by Tony Grisoni as "an elegant steely trap," 1980s tragic arc is all the more devastating for the glimpses of lightness and redemption with which it taunts its hero -- policeman Peter Hunter, played with astonishing grace and nuance by Paddy Considine. Warren Clarke, Maxine Peake, Peter Mullan, Tony Pitts, Jim Carter, David Morrissey, Sean Harris, Shaun Dooley and Lesley Sharp also figure in what surely ranks as one of the finest British ensemble casts ever assembled. So yes, the acting, writing and direction are all first-rate, but crucial to the mesmeric, elegiac and ultimately pincering, punishing effect of 1980 is its music, composed by Dickon Hinchliffe and performed by a small string ensemble augmented with bass, piano, guitar and percussion. A founding member of Tindersticks, Hinchliffe has played a major role in the bands scores for the films of Claire Denis (including Vendredi Soir, Trouble Every Day and Nénette et Boni), and since flying the roost has established himself as an arthouse and Hollywood composer of considerable renown, with credits including Forty Shades of Blue, Project Nim, Winters Bone and Rampart. Even more eloquently than Paddy Considines note-perfect performance, Hinchliffes music for 1980 articulates Hunters journey from righteousness to ruin, his optimism gradually consumed by dread and paranoia. Even at its most tender, its most hopeful, its most soaringly romantic, the stench of death is all over it." -Blackest Ever Black.

"One-sided reissue of a very obscure 1981 cassette on Ata Tak! Music of Hindemith, interpreted by Holger Hiller and Thomas Fehlmann. In 1930 the German composer Paul Hindemith (1895-1963) wrote a series of small pieces for school orchestras. It was described as a play for children depicting the construction and survey of a modern city. The unusual thing about it is the age of its inhabitants: In our city the grownups have no say... Our mayor is seven years old, and all uncles and aunties are children. Even the traffic warden is a child. We Build A Town comes across as strange in more than one way. Firstly, as a bizarre alternative blueprint to an elderly society. Secondly, as a combination of constructivist music and antiquated-modernist lyrics. These lyrics reflect traits of naïve belief in progress and open repression. Half a century after the original was created, two German artists with a punk and new wave background reinterpret the play and release it in 1981 as a cassette tape on Ata Tak, a label based in the German city of Düsseldorf. The classic orchestration of the original is replaced by synthesizer and manipulated voices. Apart from that, the original score is strictly adhered to. The use of electronic instruments and voice effects not only gives new life to the futuristic character of the pieces, but also subtly hints to its origins in the world of adults. Like the flame of a burning fuse leading to a bundle of explosives, the tape wanders through the childrens bodies and back into the heads of the grown-ups." -Gagarin

Go Hirano (piano, pianica, glockenspiel, accordion, windchimes, thumb piano, percussion, voice, etc). "Its been a long time coming, but Go Hiranos stunning new album has finally been released. Hirano is known as a sometime White Heaven collaborator, renowned expert on Canadian psychedelia and acid folk, and ultra-sensitive sound artist. His previous two albums on PSF have wound lo-fi wisps of fragile piano melody and bell chime around nagging, sometimes subtly unsettling field recording techniques. Corridor of Daylights resurrects the absolutely exquisite instrumental palette of his second, Reflection of Dreams (PSF 071). It is a dreamy walk along insubstantial, lysergic paths where all-too breakable souls breathe shallowly and insects hum in sympathetic resonance. An almost flawless album of touching late-night psychedelics." - Alan Cummings.

"The first Go Hirano album, only issued on vinyl, from 1995. Last available copies and long o/p elsewhere. Curious, beautifully produced violin, guitar and electronics improvisations, vaguely referable to the Organum school of music." Highly Recommended!

2nd album for PSF, that is nearly an all-solo affair, with Hirano playing piano, pianica, organ, windchime, glockenspiel, percussion, voice. "...a compilation of 14 short tracks recorded between 1990 and 1995. There is a genuine late-night quality to most of the tracks -- delicate, almost hesitant in places, gorgeously lyrical in others -- a real contrast to the buzzing harshness of his last album. Id almost be tempted to use the word ambient to describe a lot of this album, but that word has become particularly debased of late... and besides, there is a quality of surreal, dreamlike naivete to Hiranos works thats thousands of miles away from most purveyors of fleaty textures... puzzling, but good." --Alan Cummings.

"Anthology for Hiroshi who played in Datetenryu, Zuno Keisatsu, Rallizes, Niplits, etc.
Point is Hiroshis vocal version of Zuno Keisatsus song and "Arayuru Yami" the live that maniacs regard it as best live."

"Osaka Fortune is the first studio record by the quartet of two drummers and two noisicians (one each from Norway and Japan). HIROSHIGE and MARHAUG bring the screech, the former via three-and-half decades as guitarist and leader of infamous HIJOKAIDAN, the latter having established himself as one of the most prolific and travel-ready Scandinavians of the past twenty years. NILSSEN-LOVE has pounded for THE THING and ATOMIC, and collaborated with Peter Broetzmann, Mats Gustafsson and Ken Vandermark, while PIKA has cracked it for AFRIRAMPO and ACID MOTHERS TEMPLE. Finally, a chain with no weak links. 350-gram vinyl. Edition of 400." - Premier Sang.

"Side A of this split LP features self-proclained “King of Noise”, Jojo Hiroshige, founder member of the legendary Hijokaidan and stalwart of the Japanese noise scene.
The B-side is engraved with the naked and guttural voice of sax-player Tamio Shiraishi, accompanied here by guitarist Malenkov
Both sides appropriate the Enka repetoire in remarkablky different ways. Jojo Hiroshiges howled declamations and metallic scoria guitars chisel these old Enka ballads into something more monstrous while Malenkovs flamenco arpeggios bandage torn lace around Shiriashis voice. Shiraishi recorded these songs in Uramado, a small kabuki-cho bar haunted by the ghosts of the Tokyo underground. Wandering through the streets of this floating world, one gets re-acquainted with those long lost voices of Enka.
This document is only a superficial incision into the exquisite corpse of the Japanese underground, a body of work where traditional and modern musical lines converge and take their rest, having now been cast into oblivion by the relentless changing trends. Enka music is deeply anchored in Japanese society and still remains influential today among those who frequent Karaoke bars where singing is the preferred language." - An Archives. Silkscreened jackets by Alan Sherry of SIWA.

"More proof that Italy is getting to be a hot spot form rock y roll moderne. These two HRA songs will remind you a bit of Cheveu, maybe some Crash Normal, perhaps some Another Mans Sac. I dunno. You can figure out the comparisons. I do think you will dig this one."-Scott Soriano (S-S). Edition of 600 copies.